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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
RECITAL REVIEW
Oakmont Concert Series / Thursday, October 18, 2012
Gustavo Romero,piano

Gustavo Romero On Berger's Stage Oct. 18

FORMIDABLE PIANISM FROM GUSTAVO ROMERO

by Terry McNeill
Thursday, October 18, 2012

Austin-based pianist Gustavo Romero has a second artistic home in Sonoma County, having played three times on the Oakmont Concert Series and in a number of private concerts. He returned to Oakmont’s Berger Auditorium Oct. 18 to play a formidable recital of Bach, Beethoven, Debussy and Rachmaninoff.

In one of the longest programs in recent memory, Mr. Romero played three Beethoven sonatas, finishing the first half with the mighty “Appassionata.” Throughout the afternoon, he was never in a hurry to get anywhere, even in the finale of the Appassionata, where performers tend to pile up too many notes in too short a space, thus blurring the musical line. Mr. Romero is neither a pianist of the most subtle phrasing nor a great colorist. What you hear is what you get--unfussy and well-thought out interpretations, left foot always on the shift pedal, no extraneous facial expressions or mannerisms, serious communion with the composer. It’s an approach sharply different from that of Lang Lang nearly three weeks previously in Weill Hall. Mr. Romero is all business.

He began with a lyrical performance of the Andante from Bach’s second violin sonata, in the Godowsky transcription. It was a balanced reading with deft inner lines and terraced dynamics.

In the first of the Beethoven sonatas, Op. 78, Mr. Romero continued his leisurely tempos, with differentiated repeats. It was graceful playing, as was the following, the popular “Hunt” sonata. This work requires the gentle touch Mr. Romero brought to it, the big sforzandos all the more surprising. He used a light pedal in the Scherzo, and though his scales were clear, they were hardly crystalline.

The Appassionata, played often in Santa Rosa in the past five years, was a relaxed but thankfully a nonstructural interpretation. This sonata is emotional throughout, including the short set of variations making up the middle movement, which uses one of Beethoven’s most attractive melodies. Mr. Romero varies his trills from moderate to brilliant all through the piece, and twice he let the sound linger with long movement-ending fermatas. The finale, marked Presto, was hardly that but showed clear articulation, and the dynamic sweep was always under control. A careful but effective interpretation.

Tonal color was foremost in the three Debussy works that opened the second half. “Pagodes” was played atmospherically, with the pianist using half-pedal effects, creating a wash of soft and bell-like sounds. “La Soirée dans Grenade” has a habanera rhythm that Mr. Romero emphasized, almost to the detriment of the guitar effects. The last piece, “Jardins sous la pluie,” was played with a broad dynamic range, and the multiple dynamic levels were carefully rendered. Here the artist’s tempo was faster and the result was a highlight of the recital.

Rachmaninoff preludes, preceded by the early Op. 3 “Elegie,” closed the recital. The lush Chopineque melodies of the Elegie were languorously and elegantly played, leading to five preludes, each of a sharply different character. The B Minor of Op. 32, reported by Moiseiwitsch to be the composer’s favorite, was played with rich colors and a masterful control of pianissimo. A series of sleigh-bell sounds came with the Op. 32 prelude in G-Sharp Minor, the vocal nature of the writing beautifully underscored by the pianist. Two preludes in G followed. The Op. 23 version had the right “military” character with bright repeated right-hand chords, and the Op. 32 waxed nostalgic. In the latter, Mr. Romero played the final three chords chastely, with just the right silence between them.

The concluding prelude was the glorious one in D Flat Major, played here more slowly than usual. It had a monumental and powerful sound, and the chordal voicing was always even.

Repeating an encore of a past Oakmont recital, Mr. Romero played Turkish composer Fazil Say’s “Black Earth,” a 1997 work that makes use of held forte pianistic chords combined with hand-muted (on the strings) notes and quick right-hand figurations. It was a long encore but beguiling and well received.