Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
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.