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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
RECITAL REVIEW
Sebastopol Center For The Arts / Friday, September 16, 2011
John Boyajy, voice and piano; Nicki Bell, piano

John Boyajy in Sebastopol Sept. 16

BOYAJY'S VOICE AND PIANO ARTISTRY CAPTURES SCHUBERT IN SEBASTOPOL RECITAL

by Terry McNeill
Friday, September 16, 2011

John Boyajy is one of the Bay Area’s most active pianists, but he seldom ventures out of his Marin County lair to present his legendary eclectic recitals of famous and rarely-heard composers. Sept. 16 found him at the Sebastopol Center for the Arts, with colleague Nicki Bell, to play familiar music in a resounding and unique way.

What was unique about the evening? First, Mr. Boyajy began with a solid and texturally clear reading of Schubert’s lyrical A Flat Major Impromptu from Op, 142, with ample power in the climaxes, but that reading quickly moved to three wonderful Schubert songs: Heidenröslein (D. 257), Morgengruss (D. 795) and Die Forelle (D. 550). Pretty conventional in many ways, even in their transcriptions for the piano by Liszt and Godowsky. But then, with Ms. Bell at the piano, Mr. Boyajy sang each of the three songs. When has an instrumentalist in a Sonoma County recital turned also to the art of the voice? Should a Carol Menke recital, after vocal beauties, spotlight her playing Scarlatti on the piano?

The Schubert playing itself was capable and the pianist explained to an audience of 25 the lure of Schubert’s beguiling art for Liszt and Godowsky. These transcriptions are far more complicated than the original piano parts, with simultaneous legato and staccato in the hands and intricate polyphony, and the pianist captured the spirit of each. The eighth of the 20-piece set from “Die Schöene Müllerin,” Morgangruss was the best sung, with a surprisingly fast tempo. The piano part occasionally covered Mr. Boyajy’s voice, and though he sings with admirable German and diction, he tends to run out of vocal strength at phrase endings.

Following intermission Liszt’s Valse Oubilée No. 1 and the Hungarian master’s transcription of Schubert’s Soirée de Vienne no. 6 were performed. The compositions are opposites, the “forgotten” Valse a product of Liszt’s stark late harmonic palette, and the Soirée a champagne toast to old Vienna, full of charm and a tricky set of variations demanding careful digital attention. Mr. Boyajy’s fingers, though not note perfect, were up to the task and the playing was one of the high points in the recital. At times the artist’s lingering over a particularly choice tune disturbed the line, but also it reminded one of Rosenthal’s famous and delightfully schmaltzy recording of the Soirée.

Bach’s iconic Chaconne in D Minor, from the second Partita for solo violin, completed the recital. Here Mr. Boyajy combines the works’ transcriptions by Siloti and Busoni with a few additions of his own, and the complete package had considerable dramatic force. The rhythmic and thematic contents are those of Bach, with the pianistic demands those of modern virtuosity. The sonority demanded by the artist, especially in powerful bass chords, overwhelmed the small hall piano and led to sections of muddy textures. But in every way the majesty of the great work was captured by Mr. Boyajy, right up the closing where several additional notes were added. Transcriptions can allow no less!

No encore was offered.