Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.