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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
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.