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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
RECITAL REVIEW
Sonoma State University Department of Music / Saturday, August 23, 2014
Jeffrey Kahane, piano

Pianist Jeffrey Kahane

KAHANE RECITAL HELPS INAUGURATE SCHROEDER HALL

by Terry McNeill
Saturday, August 23, 2014

Jeffrey Kahane returns frequently to Sonoma County in conducting and concerto performance, but rarely in recital. Two past solo events come to mind, a "fantasy" program where the Copland outshone the Schumann and Chopin, and an uneven concert capped by Chopin's F Minor Ballade.

A jammed Schroeder Hall audience heard Mr. Kahane August 23 in a short recital during the opening weekend's events. He began with Beethoven's C Minor "Pathétique" Sonata, Op. 13. After playing a riveting slow first-movement statement, he selected a tempo that he could not sustain without wrong notes and blurred scales. He took the repeat and emphasized momentum and sharp contrasts at the expense of sonic clarity.

The Adagio movement had a stable tempo and lovely phrasing, but in the finale Mr. Kahane returned to a muscular approach, the Sonata's drama finally overcoming pianistic transparency.

Four Chopin works concluded the afternoon, and though the pianist understands the structural nature of the pieces, he is not an innate Chopin interpreter. The E Flat Nocturne of Op. 55 had little rhythmic subtlety and was over-pedaled, a shadow of Friedman's iconic 1936 recording. The arpeggiated final chord was novel, and the repeated A flats in the treble were bursts of beguiling light.

Two Mazurkas followed from Op. 56 (C Minor, No. 3) and Op. 50 (C-Sharp Minor, No. 3). These were workmanlike readings, a little loud for the small hall, with the middle section of the wonderful C-Sharp Minor receiving the most persuasive playing. Chopin's mazurkas are tiny gems with amazing harmonic twists that Mr. Kahane played with finish but not with the requisite deft touch and rhythmic "lift."

A specialty piece for the pianist, the Op. 52 Ballade was given a passionate performance where the parts didn't quite add up to a potent whole. Here too much damper pedal muddied and clipped the endings of phrases, and passagework and right-hand chords were blurred. The chorale section was beautifully shaped, taking advantage of the Schroeder piano's mellow tone quality. In less than 10 minutes Chopin wrote a work of cosmic power and visceral impact, both carefully unfolding under Mr. Kahane's fingers and feet but never quite scaling an emotional peak.

A standing ovation brought an encore of Schubert's B Flat Impromptu from Op. 142. The swirls of left-hand notes were captivating and the long fermata quietly ended the Schroeder's first piano recital.