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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

Pianist Yoonjung Han

PIANIST YOONJUNG HAN OVERCOMES MUSICAL OBSTACLES IN MARIN THURSDAY CLUB RECITAL

by Terry McNeill
Thursday, January 19, 2012

Virtuoso Korean pianist Yoonjung Han had tough barriers to surmount in her Jan. 19 Tiburon recital. Plying a repeat date for the Thursday Marin Musical Club after a 2011 recital had been cancelled, the Curtis Institute-trained pianist found an audience of 60 eager to hear her program, but was confronted with a sub professional piano wholly inadequate for her artistry. Additionally, the instrument reportedly had no pre-concert preparation and was unable to effectively respond to Ms. Han’s demands. And compounding the poor sonics, the Westminster Presbyterian Church’s heating system added loud fan and equipment noise to the music.

Well, an artist forges on, and Ms. Han did so with aplomb and poise. Beginning with Busoni’s iconic transcription of the Bach Chaconne in D Minor, S. 1004, she managed the technical challenges of the music despite the instrumental limitations. The octave playing was often fierce, the march sections played fast and the chorale sections stately. There was a lack of clarity above a mezzo forte due to the muddy bass of the piano but nevertheless the artist managed to produce a powerful sound.

Godowsky’s seductive transcription of the Albeniz Tango from España, Op. 165, No. 2, received a more forceful and loud performance than usually heard, but its rhythmic charm and legato was palpable. Liszt’s La Campanella, the third of Liszt’s six Paganini Etudes, lacked subtlety and the last ounce of speed, but Ms. Han’s encompassing technique still sparkled with clear scale passages and crystalline trills. The same composer’s En Reve was omitted from the program.

Mompou’s curious Variations on a Theme by Chopin came next, 12 elaborate variations based on Chopin’s Prelude in A. It's curious because most sets of piano variations have lots of contrasts with fast-slow sections, wide stretching of the theme and such. Mompou’s work from 1961 has nearly the same texture, tempos and harmonies throughout. The third variation is for the left hand alone and there was a cherry nod to Chopin’s Fantasie-Impromptu in the sixth Variation. Ms. Han played the Mompou very well, in no rush to get anywhere, and the audience provided loud applause.

Without an intermission, the concert concluded with two extended works from Granados’ magisterial Goyescas Suite. Los Requiebros (flattery) was played improvisationally with lovely colors and a strong double-note technique. The last left-hand chord was rolled, a deft effect. The more extended El Amor y a Muerte (love and death) was broadly conceived by Ms. Han, her affinity with the shifting hues of the grandiose Spanish idiom was exact. The long moody and even menacing introductory section was wonderfullY performed and the artist underscored throughout the modulations and meandering character, including a forceful coda. It’s a difficult piece to interpret but the pianist played with smoldering emotion and convincing authority.

There was no encore offered to substantial applause, and the reviewer had the feeling that the artist wanted to be quickly rid of the recalcitrant instrument and simply meet her appreciative audience at the Club's traditional post concert tea and dessert.

Elenor Barcsak and Kenn Gartner contributed to this review.