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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
RECITAL REVIEW
Oakmont Concert Series / Thursday, June 09, 2011
Einav Yarden, piano

Pianist Einav Yarden

BRILLIANT HAYDN SONATA HIGHLIGHTS YARDEN'S JUNE 9 OAKMONT RECITAL

by Terry McNeill
Thursday, June 09, 2011

Oakmont’s popular concert series, now in its 20th year, usually programs just two pianists in a 12-concert season. However, producer Robert Hayden’s eclectic taste guarantees that the selected pianists will play provocative works, and it was again so June 9 when Israeli artist Einav Yarden presented a bifurcated program before 150 in Oakmont’s Berger Auditorium.

In an admirable first half, Ms. Yarden began with the 11 Beethoven Bagatelles, Op. 119, a change from the announced Op. 33 Bagatelles. These are amazing works, a few just 15 seconds in lengths, and encompass snippets of the Bonn master’s endless invention. Many feature a light staccato touch in which the pianist excels, but others (the fourth and tenth) are fast, scattered and insistent. Ms. Yarden caught the ephemeral nature of the works, presenting a conception that nothing additional needed to be said about each.

Seven of Bartok’s 14 Op. 6 Bagatelles followed, obviously harmonically different than Beethoven but also requiring quick tempo changes and clear articulation. The atmospheric third Bagatelle was followed by dramatic marching chords in the fourth and virtuosic heraldry in the final seventh. Ms. Yarden made the dissonances, perhaps grating even at their composition in 1908, seem of a piece and natural. The pianist can float a lovely pianissimo when the music demands. It was a strong performance and drew fulsome applause.

Haydn’s D Major Sonata, Hob. XVI: 24, completed the first half and received a masterful reading from the pianist. The opening Allegro featured a quick tempo, distinctive lines and chaste pedal. Ms. Yarden’s finger staccato added clarity and Haydn’s humor and charm were in evidence throughout. Mention must be made of the pianist’s wonderful scale playing, even in difficult hand positions and where off-beat accents are called for in the score. The slow movement (Adagio) had a sense of mystery and the pianist’s even trills and control of balances were exemplary. The right-hand runs in the finale were brilliant, the legato used in some scales for contrast. A deft touch. It was for this reviewer the best Haydn Sonata played in the local area in years, and the highlight of the recital.

Two Schumann songs in Liszt transcriptions opened the second half and were less than congenial for the pianist. The Frühlingsnacht, from the Liederkreis, Op. 39, No. 12, gave the pianist technical trouble, albeit with a judicious tempo that allowed subtlety. There was no shimmering magic in the repeated chords. The celebrated Widmung transcription, in the first of two versions Liszt wrote, was tentative and in the declamatory sections brittle and lacking fervor.

Closing the recital was Schumann’s great C Major Fantasie, Op. 17, one of the glories of 19th Century romantic pianism. Here Ms. Yarden was more in her element, giving a performance of abundant character without being really memorable. The first movement was played at a moderate tempo and with command, but the dynamic extremes needed to underline what Schumann said were his most passionate utterances were missing. The final resolution into C Major, at a place the pianist Moritz Rosenthal said only occurred just before the allusion to a Beethoven song, was tender and properly lingering.

The middle march movement was not tentative but was also not orchestral, the pianist choosing to underplay the marcato elements. It was not a note-perfect movement in the coda but the perilous contrary-motion skips prior to the final three chords were taken with precision and speed. In a middle-of-the-road performance Schumann’s exaltation with ardor and pianistic sound were absent.

The sonorous finale was had the requisite flow and both of the climaxes had power and led inexorably to the quiet postlude. Here the concert piano almost seems to lack hammers and Ms. Yarden brought forth the most tonal colors and musical contemplation of the afternoon. After many seconds of silence a standing ovation greeted the conclusion of the Fantasie, but no encore was offered.

Ms. Yarden, in her first extended tour of Sonoma County, appeared on the Charles Sepos KRCB “Curtain Call” program June 10 and in a posh private recital for Concerts Grand June 11 in Santa Rosa.