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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...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
RECITAL REVIEW
Santa Rosa Junior College Chamber Concerts / Friday, November 22, 2013
Jean Efflam Bavouzet, piano

Pianist Jean-Efflam Bavouzet

GALLIC PERFECTION

by Terry McNeill
Friday, November 22, 2013

Jean-Efflam Bavouzet has made French piano music a principal part of his career, but his artistry extends to far more than Gallic masterpieces, as he convincingly demonstrated in a Nov. 22 recital for the SRJC Chamber Concerts series.

Before 180 in Newman Auditorium, Mr. Bavouzet opened with a sparkling reading of Beethoven’s "Waldstein" Sonata that featured sprightly tempos and precise articulation. The opening Allegro con Brio was so accurate that it could have been used for score dictation, and nary a nod was made toward romanticized rubato. Only the movement's humor was lacking, something Anton Nel underscored in his "Waldstein" last year in the same hall and series.

The following Adagio and Rondo finale were superbly played, the slow and quasi-introductory Adagio having just the right repose and the Rondo beginning in a dreamy wash of sound, becoming energetic as the music unfolded through the glissando octaves and an accelerated final section.

Ravel’s great 1908 "Gaspard de la Nuit" closed the first half. Here, as in the Debussy Preludes to come, Mr. Bavouzet was a peerless interpreter of his countryman’s music. Swirls of sound floated from the piano, and in the big bass sections, usually heavily emphasized, he instead underlined the harmonic beauty of the right-hand chords. The "Le Gibet" movement was played as a dirge over a menacing pedal point, and Mr. Bavouzet’s control of register balances was imposing.

In sweeping gestures and diabolerie, the closing "Scarbo" movement was a tour de force of terrific pianism, replete with sharp bass sforzandos, swift repeated notes and concentrated drama. A standing ovation ensued.

Debussy’s first seven Preludes (of 12) from his Book I followed intermission, each receiving playing of a unifying mood and character. Here the pianist’s consummate control or tone color and delicate phrase was on full display. Especially memorable were the imaginative tonal balances in "Les sons et les parfums tournent dans l’air du soir" and the lively and rhythmically playful "Les collines d’Anacapri." It was subtle and authoritative Debussy, lovingly presented.

There is no easy way to move from the pellucid impressionism of the Debussy Preludes to the Bartok Piano Sonata, so Mr. Bavouzet simply dove headlong into the Hungarian's three-movement virtuoso work from 1926. The composer’s longest solo piece for piano, the Sonata is tonal but dissonant throughout. The complicated embellishments and rhythms posed no problems for the pianist’s technique, and his careful pedaling (including sections when the damper pedal was not used) brought out snippets of folk tunes heretofore new to me. In the Allegro finale an effective toccata-like pace was adopted and gave a potent character to the trenchant neo-classical music.

If there was to be an encore, something sedate was called for, and Mr. Bavouzet responded to the applause with another delicate Debussy Prelude, "La fille aux cheveux de lin." He played it with sensitive legato, a wonderful ending to a provocative and nearly faultless recital.