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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...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
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 Beethovenís "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.

Ravelís 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 countrymanís 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. Bavouzetís 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.

Debussyís first seven Preludes (of 12) from his Book I followed intermission, each receiving playing of a unifying mood and character. Here the pianistís 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 líair du soir" and the lively and rhythmically playful "Les collines díAnacapri." 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 composerís longest solo piece for piano, the Sonata is tonal but dissonant throughout. The complicated embellishments and rhythms posed no problems for the pianistís 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.