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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 Lawrence Holmefjord-Sarabi

FAST AND FURIOUS AT THE RAVEN THEATER

by Terry McNeill
Wednesday, February 13, 2013

Pianist Lawrence Holmefjord-Sarabi returned to a hometown Healdsburg Raven Theater audience Feb. 13 in a piano recital heavy on finger busting virtuoso works but short on pianistic subtlety.

Charging into Beethoven’s C Major Sonata, Op.53 (Waldstein), Mr. Holmefjord-Sarabi disclosed that his interests are removed from instrumental color and subtlety, and that he is most happy with the loud and fast. Throughout the program he selected blockbuster display pieces to wow the audience of 200, and when quiet playing might characterize three of Grieg’s Lyric Pieces, little attention was given to their elusive and poetic nature. The Op. 66 Wedding Day in Troldhaugen was overplayed and too loud, the bass chords punched out, and both the delicate Op. 12 Arietta and the noble Op. 54 Notturno were too fast and monochromatic.

In the Waldstein Sonata the notes were performed admirably but the work’s humor and in some areas restrained majesty were absent. First-movement section transitions were blurred and he seemed to be always in a rush. Even the usually leisurely floated single G note at the end of the second movement’s Adagio Molto disappeared in the rush to get to the Rondo. The finale’s famous octave glissandi, G to G in alternating hands, were played as scales, and recently Anton Nel did the same in his Santa Rosa Junior College recital. It must be mentioned that the pianist commands a speedy right-hand trill.

Not surprisingly Mr. Holmefjod-Sarabi’s aggressive approach worked best in Book II of the Brahms Paganini Variations, Op. 35. Though tempos were moderate relative to current virtuoso playing, these demonic and loud works comprised of 14 thorny variations needed the agitated playing of the pianist, and he played them with confidence and aplomb.

Following intermission Stravinsky’s Trois Mouvements de Petrouchka was heard, and the recital concluded with Balakirev’s arrangement of Glinka’s Song “The Lark” and the 1865 Oriental Fantasie “Islamey.” The three paraphrases from Stravinsky’s 1921 ballet went by in a blur of glittering display, the long hand stretches and left-hand fireworks exciting the audience. The performance of “The Lark” had good octave playing but was mundane, too loud and lacked rhythmic subtlety and charm.

Mr. Holmefjord-Sarabi chose a moderate tempo for the rich pianistic fabric of Islamey, a showpiece for advanced students and virtuosi alike. The artist’s cross-hand skips and memory were not infallible in this demanding work, but the audience jumped to its feet following the last fortissimo bass tremolo as for a sports figure.