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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...
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.