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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...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
CHAMBER REVIEW

Antonio Iturrioz

ITURRIOZ AND URSULINE AN UNEASY MIX

by Terry McNeill
Sunday, July 13, 2008

Antonio Iturrioz may not be a familiar name in local classical music households, but he has quietly become the most active solo pianist in the North Bay. He also seems to be intrigued by rarely performed virtuoso music—works other pianists avoid at every turn—and he is a scholar of Leopold Godowsky’s life and art.

July 13 found Iturrioz playing a benefit for Restorative Justice, a support group in the criminal detention system, in a dormitory at Santa Rosa’s Ursuline High School. Ninety people attended the concert, which was preceded by a tasty ice cream social. The dormitory was not an ideal spot for Bach and Strauss, the audience being sprinkled with noisy youngsters yearning to be outside, and often getting there.

Likewise, Iturrioz was not at his best the entire afternoon, with a combination of factors derailing a successful musical experience. A key part of the problem was the school’s piano, a 112-year-old Knabe concert grand. This 90-note behemoth was once a great orchestral piano, with power to spare—but those days are dim history, and artistic control and sonic projection were mostly impossible. A fine rebuilder should take on this project. Think of a great Victorian San Francisco mansion that desperately needs plumbing, a new roof, floors and lots of colorful paint.

Iturrioz also chose to adopt such slow tempos in most of the program’s pieces, perhaps as a result of the uncooperative instrument, that he was seldom able to sustain a cogent music line. He also found small breaks and “hesitations” in sections of Chopin’s Aeolian Harp Etude, Op. 25, No. 1, and the Bishop-Godowsky Home Sweet Home, which diminished rhythmic vigor and continuity.

More successful were the Schubert-Godowsky Litany, which had a wonderful lyrical pulse, and the dramatic work that ended the first half, Liszt’s Legend No. 2, “St. Francis Walking On The Waves.” Here the broken left-hand octaves had powerful impact, with Iturrioz’s bravura technique carrying the day.

There was one encore, Lecuona’s Noche Azul, played with seductive tone colors and chaste phrasing.

The writer produces Concerts Grand recitals, where Mr. Iturrioz will perform on April 12, 2009.