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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
RECITAL REVIEW
Music at Oakmont / Thursday, February 13, 2014
Ching-Yun Hu, piano

Pianist Ching-Yun Hu

HU'S ON FIRST, SECOND AND THIRD

by Terry McNeill
Thursday, February 13, 2014

Music at Oakmont in their eight-concert season features mostly instrumental ensembles, and rarely pianists. But when they do the pianists are pretty good. Ching-Yun Hu's performance Feb.13 in Berger Auditorium, for example, was at a first-cabin level of virtuosity.

A conventional repertoire first half included Chopin (the Second Sonata in B-Flat Minor) and Ravel’s "Gaspard de la Nuit," and the entire second part was pungent Spanish music. The Sonata emphasized the house piano’s bright treble register and was dramatic throughout. Ms. Hu took the controversial step of skipping the big first-movement repeat, and after the movement’s final doubled-down B flat chord she waded immediately into the superbly pianistic Scherzo. Here the ritards were sculpted, but the movement was played without sufficient verve or personality.

The familiar "Marche Funèbre" movement was played as slow as I have ever heard it. Ms. Hu's control here was total, as was her mastery in the splendid finale (Presto), which she played with minimal pedal, showcasing Chopin’s almost atonal sonority and chromaticism to mysterious effect.

Ravel's "Gaspard" closed the first half, and unlike Jean Efflam Bavouzet's muscular November performance at SRJC, Ms. Hu adopted judicious tempos and textures throughout this masterpiece from 1908. The flowing left-hand melody was constantly played pianissimo and evoked the fluid surroundings of the water sprite Ondine. It shimmered where it should have shimmered. The middle "Le Gibet" movement was played with a leisurely pace, lovely tone and a strong hint of mystery.

The great "Scarbo" finale was masterfully done, the finger articulation crisp and the damper pedal used sparingly. Ms. Hu alternated voices that were distinct and then hazy in this diabolic challenge to a pianist's technique.

Four works by Granados and a single work from Albéniz's "Iberia" (Book II) were played after intermission. The angst and longing of "El Amor y la Muerte" was vividly portrayed by Ms. Hu, her rhythmic flexibility and focus on interplay of voices always commanding. In Granados' "Oriental, No. 2" of the Op. 37 "Danzas Españolas," the short work was played rather roughly, the hard tone at times needed by the music and to be heard over Berger's audible HVAC system. "Andaluza" (Op. 37, No. 5) was deftly played.

Albéniz's "Triana" closed the formal recital. Here Ms. Hu played the off-beat accents and big contrasts with joy and abandon. It was Spanish splendor and brought a large ovation.

In a surprise encore selection, the pianist departed from the piquant Spanish rhythms and played one of Chopin’s greatest Nocturnes, the languorous and poignant E Flat of Op. 55. The performance was laced with grace and subtle inner voices that caught the "light beam" high E Flats in the right hand to telling effect.