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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festivalís 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 Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
CHAMBER REVIEW
Oakmont Concert Series / Thursday, August 14, 2008
JOEL FAN, CONCERT PIANIST

JOEL FAN

PIANIST ON THE MOVE

by Terry McNeill
Wednesday, August 27, 2008

Joel Fan is a pianist on the move. On August 14, in his second Oakmont Concert Series performance in the past three years, he commanded the stage with boundless energy and gave an eclectic program heavy on thunder and excitement.

His concert was billed as music from North and South America, but somehow Beethoven's A-Flat Major Sonata, Op. 110, was squeezed in to end the first half, and it received a committed performance, full of nuance and occasional mystery. The opening Moderato Cantabile was pensive, with the left hand trills evocative. A crisp and lyric reading of the scherzo-like Adagio led to the majestic concluding fugue, which Fan paced with great care. Although Fan's performance of the noble fugue wasn't monumental, the end arrived with great dignity.

Ginastera's Sonata No. 1 began the afternoon. Fan emphasized the similarities to Prokofiev's early sonatas in the first movement, and he floated three high notes with aplomb, ending the Adagio molto appassionato. The restless toccata finishing the work was a percussive and high energy journey under Fan's fleet fingers. However, the piano sound at the top end became increasingly brittle, particularly when Fan demanded a lot of volume, indicating some attention to hammer voicing may be in order.

Two short works by Nazareth and Piazzola (the latter a lovely Prelude from 1987, similar to the composer's 'Oblivion') led to 'Troubled Water,' by Chicago composer Margaret Bonds. Fan brought out the rhythmic complexities and insistent syncopation, but the piece ultimately lacked interest. Nonetheless, Bonds, the teacher of Ned Rorem, was a welcome and rare addition to the program.

A quite different experience was the Barber Sonata, a 1949 work that has become a repertoire staple. I have always liked the live Cliburn performance from his second Soviet Union tour of 1960, and the more relaxed approach from Arizona pianist Nicholas Zumbro. Fan veered towards the Cliburn reading, seizing the dissonant block chords in the first movement and underscoring the vacillating double and triple meters. The performance of the second movement, Allegro vivace, was simply masterful, full of whimsy and subtle phrasing. The Allegro mesto was a dirge, leaving the audience adrift in a luxurious sonic fog, with Fan tolling bells with his left hand. Wonderful. The famous concluding fugue was taken at a quick clip, control almost being lost in several places, and the contrary-motion octaves at the end lacked clarity. That said, it was a riveting performance, fully realized, and the highlight of the recital.

To conclude a day of energetic pieces, Fan played Liszt's 'Rigoletto Paraphrase' dramatically; but this Verdi homage is not quite yet Fan's piece. What was missing was repose among the tumult, real legato octaves among the bravura, and a more chaste use of the pedal. One can get away with a lot in this piece, and Fan let out all the pianistic stops to the acclaim of the large audience. One left the hall humming the famous Quartet theme, surely what the Weimar master would have wanted.

Joel Fan taped a deep vein of energy in this recital, and he seemed likely to repeat the entire event if an appropriate request was offered. He is a formidable artist with an innovating and inquisitive musical nature.