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Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now it seems to be on almost every...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Centerís Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflťís short and intense Requiem has been heard in Santa Rosaís Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hallís stage March 25 and didnít play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morganís artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hallís wonderful Brombaugh organ. Mr. Morgan, Stanford Universityís resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
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.