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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
RECITAL REVIEW
Santa Rosa Junior College Chamber Concerts / Friday, March 16, 2012
Joyce Yang, piano

Pianist Joyce Yang receiving ovation March 16 at SRJC

MASTERLY RECITAL FROM JOYCE YANG

by Terry McNeill
Friday, March 16, 2012

Pianist Joyce Yang came to her Newman Auditorium recital March 16 with a bevy of extravagant press notices and a contented audience. Why contented before a note was played? The SRJC concert committee provided a lavish reception before, not after, the recital, honoring the annual Randolph Newman recital tradition. So there was a warm and perhaps sedentary glow in the packed hall when Ms Yang stepped to the instrument for the first of four Scarlatti Sonatas.

Each of the Sonatas received an expressive reading, more romantic than classical, with the C Major (K. 132) performed with large dynamic contrasts and alternating clipped phrase endings with extended use of the damper pedal. In the D Minor (K. 9), popular for years in the Tausig version Pastorale and Capriccio, the tempo was deliberate and the articulation clean. In the final two Sonatas, K. 141 and 29, Ms. Yang's exemplary cross-hand technique and ample pedal generated a fleet momentum. Her command of these works was mature and in every way impressive. No repeats were skipped.

Debussy's popular "Estamps" followed with Ms. Yang underscoring the music's atmospheric effects, the shift pedal in constant use and her touch at times heavy, befitting the gong-like bass notes in "Pagodes." Some of these notes were played but didn't sound, at least to my seat in the rear of the hall. Soiree Dans Grenade was fetchingly played, the artist getting habanera effects from the piano with subtle rhythmic variation. The concluding "Jardins sous la Pluie" was played vigorously, the ceaseless triplet 16th notes played with precision. In her spoken remarks Ms. Yang characterized her programs and much of Debussy as a collage, and this performance was a prismatic playing of a masterwork.

Ms. Yang seems to own the Op. 29 Liebermann "Gargoyles," a 1989 four-movement work that appears frequently in piano competitions. She played the opening toccata figurations rapidly and her fluid finger staccato made the digital demands appear easy, as did the following moderato with softly repeated notes in the right hand, richly hued. This movement is reminiscent of the forgotten Walter Niemann’s forgotten Nocturne, shimmering but not note perfect as was nearly the entire recital. The final presto was played with menace and a grand sweep, the big contrary motion skips in both hands accurate and the runs half pedaled.

Anton Rubinstein called Schubert "eternal sunshine in music" and Ms. Yang's lyrical playing of the G-Flat Major Impromptu (Op. 90) had a lovely singing legato line. It began with minimal ritards in the modern vein, then broadened to a line stretching retards at each modulation and thematic entrance. It was a balanced and compelling interpretation.

Concluding the recital were the eight contrasting pieces of Schumann's Op. 12 "Fantasiestücke." Contrast was the operative word and Ms. Yang's consummate pianism captured the composer's illusory and capricious imagination. Especially memorable was how Ms. Yang handled the multiple layers of melodic writing for one hand in the In Der Nacht section, and the control she brought to the explosive Aufschwung.

In response to a vocal ovation the pianist played Earl Wild's transcription of Gershwin's "The Man I Love," originally a song from the 1927 Broadway show Strike Up The Band. Here Ms. Yang brought out delicious counterpoint, swirls of notes and in the final two bars a deft decrescendo in the piano’s high treble. It was an alluring encore that ended a masterly recital.