Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
RECITAL REVIEW
Concerts Grand / Sunday, October 30, 2011
Frank Wiens, piano

Frank Wiens Plays Falla's Cubana Oct. 30 at Mendocino College (G. Louie Photo)

WIENS' SPANISH PROGRAM CHARMS CONCERTS GRAND AUDIENCE AT MENDOCINO COLLEGE

by Mendo Cinco
Sunday, October 30, 2011

Pianist Frank Wiens is a popular visitor to Northern California concert halls as recitalist and lecturer, but has strangely been absent from Mendocino County for decades. Under the auspices of the Concerts Grand series, this oversight was corrected Oct. 30 in a memorable recital at Mendocino College’s intimate Choral Room.

In a program that was almost exclusively Spanish music, Mr. Wiens began with chaste readings of two Soler Sonatas, in D Minor (DR 11) and D Major (DR 84). There was no rushing in the first, a beguiling reading, and the second was more Scarlatti like with a whirl of repeated notes, sharply-etched ornaments and an artful blending of themes. The D Major was a specialty of the late Spanish pianist Alicia de Larrocha, as were additional works that don’t attract many virtuoso pianists.

Two Albeniz pieces from his Iberia Suite came next, Evocacion and the familiar Triana. The pianist had exceptional rhythmic and pianissimo control in the first, the top notes singing and the many ritards subtle and impressionistic. In the F-Sharp Minor Triana (a suburb of Seville) Mr. Wiens evoked the flavor of a fiesta with dramatic gypsy chord playing.

A highlight of the afternoon was Falla’s four Pieces Espagnoles, from 1908, and probably a North Bay premiere performance. The opening Jota was a dance of percussive and brassy phrases, carefully gauged by Mr. Wiens, as was the seductive Cubana. Here the artist was in no hurry, underplaying the many modulations and meandering into unexpected sonic thickets. The third section, Montañesa, was played unaffectedly and with charm, and some use of the sostenuto pedal. It elicited a solo “bravo” from a listener, moving the artist to hold up one finger that indicated that the final Andaluza was to come. In this section Mr. Wiens’ playing sounded castanets in a Flamenco style, a bright dance that was improvisational but of course was pianistically impeccable.

The first half’s concluding work, Liszt’s Spanish Rhapsody, brought the audience of 37 to its feet in loud applause. The opening surprisingly did not have a fast tempo, with ample pedal point, and the rapid right hand arpeggiated chords resounded and did the accurate skips. The pianist sought clarity over speed in the tsunami of notes and the syncopated rhythms (Madrid rhythms?) and quick glissandos were exciting to hear. The standard ending was chosen over the more powerful ending fashioned by Busoni.

In a piece dedicated to the Spanish pianist Ricardo Viñes, Rodrigo’s toccata-like A l’ombre de Torre Bermeja began the second half in a rhapsodic vein far removed from the preceding Lisztian fireworks. The lyrical middle section was played elegantly, and the following bell phrases in both hands were telling. Mr. Wiens underscored the abstruse dissonances. The same could be said of his playing of two Granados works, the familiar Maiden and the Nightingale and Los Requiebros (Flattery) from the monumental Suite Goyescas. The long melody in the tenor in Maiden was captivatingly played, the many trills light and even, and ending with dainty filigree. The second work seemed to be too sectionalized, lacking clarity, the double notes never lucid.

Debussy’s La Puerta Del Vino from Book Two of his Preludes was the penultimate programmed work, and here was projected boldly with boisterous phrasing. A more boisterous piece, the Horowitz transcription of Bizet’s opera Carmen, concluded for formal program in grand style. The right-hand scale playing was very good, the big sound alleviated by short sections of repose. Mr. Wiens half pedaled many of the runs, the terrific Bizet themes pealing out with virtuosity, albeit not Horowitz, that seemed to push the limits of the piano and even the small Choral room.

One encore was offered, Mompou’s No. 6 from his Cançion i Danse Suite. The opening part (cantabile espressivo) was performed elegantly, in sharp contrast to the explosive rhythms of the concluding dance. A perfect encore.

The recital, played without score and in a snazzy concert tuxedo, was underwritten by Dorothy Sugawara, with area management by pianist and teacher Elizabeth MacDougall. Frank Wiens has at last ignited local interest in his artistry, to be on display again when he plays Grieg’s A Minor Concerto with the Ukiah Symphony Dec. 3 and 4 in Center Theater. A pianist worth discovering.