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Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
RECITAL REVIEW
Dominican University / Sunday, October 09, 2011
June Choi Oh, piano

June Choi Oh After a Chopin Waltz Encore Oct. 9

COMPELLING PIANISM IN JUNE CHOI OH'S DRAMATIC DOMINICAN UNIVERSITY RECITAL

by Terry McNeill
Sunday, October 09, 2011

Inaugurating a new recital hall piano is always a celebratory event, and Dominican University in San Rafael did the celebration right Oct. 9 when faculty pianist June Choi Oh opened the Guest Concert Series’ 11th season in Angelico Hall.

Choosing works that displayed the full range of the Bösendorfer 290 and her formidable artistry, Ms. Oh began with graceful account of Schubert’s popular B-Flat Major Impromptu, Op. 142, No. 3. Arguably Schubert’s most enchanting set of variations, five in all, they were played with élan, the trills in the second variation fast, and the final variation the scale passages shimmered. It might have been a bit too Chopinesque for some but I found the reading readily convincing.

A new piano called for a new work, and the artist complied with a world premiere of Robert Pollock’s “In the Middle of C”. The piece was the highlight of the recital, using every pitch on the piano including the nine extra bass-end notes, and seemed longer than the reported 10 minutes duration. But it was a good extension of time, as the improvisatory and impulsive nature of the composition was captivating. At times pointilistic and frenzied, sforzandos contrasting with rapid lyrical sections over pedal point, “In The Middle of C” under Ms. Oh’s strong fingers and nimble feet had considerable impact. The piano’s characteristics, at least in one hearing, were everywhere displayed: the growl of notes below the bottom A, a rather muddy lower tenor and a top end that has yet to really sing out. But it’s new and presumably will become organic after substantial playing.

Mr. Pollock’s work on its maiden voyage exploited everything that Ms. Oh could give it – massive forte chords at opposite ends of the keyboard, much use of the sostenuto pedal, percussive and violent phrases and an intriguing ending. Playing from score, Ms. Oh evoked at times the Ives “Concord” Sonata, a demanding pianistic tour de force that lasts 45 minutes. The audience knew they had heard a provocative work, worthy of more performances, and I hope Ms. Oh continues to program it.

The first half ended with Beethoven’s F Minor Sonata, the Op. 57 “Appassionata”. Lately this work has been receiving structural interpretations, but Ms. Oh would have none of that. The composer wanted canon fire in his favorite Sonata, and received it here with playing replete in excitement and at times unbridled drama. The opening Alllegro assai had compelling power. The artist often sets up phrases with short “luft pause” but never so long as to break the melodic line. A pesky memory lapse was perfectly resolved, the movement dying off in a haze of lovely right-hand thirds played pianissimo.

Beautiful chordal weighting characterized the second movement’s short theme and variations, repeats overlapped with a deft damper pedal use. Here Ms. Oh found sound and not structure. The concluding Allegro man non toppo, ushered in with 13 volcanic chords, was well played if not the last word in dynamic contrast. It was not that the pianist didn’t demand dynamic extremes, simply that the detached tarantella responses to the sonic explosions could have been more disparate. The conclusion blazed and elicited cheers from the audience of 125.

Two Chopin Nocturnes opened the second half, both in C Minor, and the first Op. Post. Nocturne I had never heard in concert. Rightly so as it’s bottom-drawer Chopin, a composer that ranks with Ravel and a few others in the high percentage of masterpieces. The following Op. 48 Nocturne, a potent piece that showed Ms. Oh’s fine octaves, was hampered by a lack of clarity in the middle of the piano and the resulting diminished projection of inner voices. The piano again seemed to be the culprit, added by a lot of pedal. The pedal point at the bottom C in the coda, leading to the final three chords, was captivating and perfectly gauged.

Chopin granitic B-Flat Minor Sonata, Op. 35 (Funeral March) closed the concert. Here the tempo in the development was brisk and the pianist opted for the long repeat. This repeat is controversial, and many great pianists (Hofmann, Rachmaninoff, Horowitz) omit it. Ms. Oh made the best of the repeat, giving it different broken chords and dynamics. All to the good, and the romantic and popular left hand triple fff B Flat at the end was not doubled. The diabolically difficult Scherzo was over pedaled in places but intensely energetic. Ms. Oh is a pianist that is not afraid of her left hand. The renowned third-movement march was played episodically, an extra slow tempo underscoring the angelic lyricism of the middle section. It was not quite an interpretation in the Slavic tradition (a complete parade from the most ethereal pianissimo to the loudest forte, and back), but one certainly carefully thought out and strongly executed.

The eerie unison finale (Presto) was played wonderfully, never rising above a low murmur and with brilliant finger technique. It cast a spell, abruptly broken by a huge B-Flat Chord, and reflected the epitaph “wind over the graves.”

One encore was offered, Chopin’s D Flat Waltz of Op. 64 (Minute), played with just the right balance of speed and charm.

At the beginning of the program Dominican Music Department Chair Craig Singleton and Arts School Dean Nicola Pitchford gave lengthy introductory remarks concerning the piano’s funding and Dominican’s place in the Marin arts scene. University President Mary Marcy was in the audience, surely a sign that Series Director Ms. Oh will continue to administer concert seasons with a long tenure for Marin music lovers.

John Metz, Elenor Barcsak, Kenn Gartner and Marie Carbone contributed to the above review.