Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
SYMPHONY REVIEW
MasterCard Performance Series / Saturday, October 12, 2013
Garrick Ohlsson, piano

Pianist Garrick Ohlsson

VENTURING INTO THE UNKNOWN

by Terry McNeill
Saturday, October 12, 2013

Along with pianist Garrick Ohlsson's formidable technique and artistry, curiosity has been a hallmark of his long career. Though playing the conventional repertoire superbly, he constantly ventures into unknown corners of piano music.

The centerpiece of his Oct. 12 recital at Weill Hall in Rohnert Park was the seldom-heard Liszt work Ad Nos, Ad Salutarem Unam, written for organ in 1852 and transcribed for piano in 1897 by Busoni. In 23 minutes, Liszt (or should it be Busoni?) builds a massive structure that tested the sonic extremes of the hall's new piano. Mr. Ohlsson began the work's questioning and solemn first theme with care and perfect chordal weighting, and the clarity of lines in an occasionally clangorous sonic mix was exemplary. The playing was mostly orchestral for nearly 13 minutes, then the sun came out in a lovely chorale that points to Liszt's daring late-period harmonies. It's easy in this work to make too many tempo modifications, but Mr. Ohlsson adopted a rock-solid pace, even when building rock-splitting sonorities.

The fugue began judiciously and was carried in short passages until a thunderous conclusion. Also admirable were the lengthy right-hand scale runs and scintillating parallel octaves. The Ad Nos demands stamina as well as technical brilliance, and Mr. Ohlsson had ample amounts of both. A standing ovation followed the final chord, with some in the audience seeming dazed by what they had heard.

Was the rest of the program thrown into the shade by this prodigious performance? Not really, although the six Debussy studies that began the second half sounded a little prosaic. The selections from Book I exploit wildly contrasting moods. Mr. Ohlsson lavished here his considerable beauty of timbre and control of technical details, such as colorful glissandi, will-of-the-wisp passages and rapid chords in pesky close-hand positions. He has very large hands but manages to solve with apparent ease Debussy's most intricate figurations. The third selection in double fourths, Pour les Quartes, had a perfect impressionistic legato and was almost lapidary in execution.

The first half began with Brahms' B Minor and G Minor Op. 79 Rhapsodies, and the recital finished with Chopin's F Minor Fantasy, Op. 49. Both Brahms were big-boned readings, wonderfully bass-heavy with deft left-hand crossover passages capturing the turbulent character of the first and the fatalistic and extroverted character of the second. It was echt Brahms for the connoisseur.

I have heard Mr. Ohlsson's rendition of the Chopin Fantasy several times, but this performance was the most inspired and interesting. He began pensively with deft touches, including three extended fermatas and subtly rolled left-hand chords. The lyricism appeared in the first of three main theme repetitions where the contrary octave playing was resounding and accurate. The chaste chorale section was delicately played, but the final version of the march was treated to an unexpected accelerando leading to a bravura and passionate ending.

Two encores satisfied the happy crowd of 900, beginning with the aristocratic C-Sharp Minor Chopin Waltz from Op. 64. Mr. Ohlsson had fun with this work, making wily rhythmic alterations at each returning theme and stressing the languorous nature of the piece until the end, when speed and delicacy prevailed. It's hard to play very fast and also softly, but it's outwardly child's play for Mr. Ohlsson. A volcanic performance of Rachmaninoff's ever-popular C-Sharp Minor Prelude closed the recital, with playing as individual and convincing as all that had come before.