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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...
CHAMBER REVIEW
Elena Casanova / Sunday, November 2, 2008
Elena Casanova, Pianist

Elena Casanova

CASANOVA'S LISZT AND GINASTERA THRILL LARGE UKIAH AUDIENCE

by Terry McNeill
Friday, November 7, 2008

The proverbial “no person is a hero in their own backyard” was certainly false Nov. 2 when pianist Elena Casanova attracted the largest solo classical audience in memory to her Mendocino College recital, launching the sixth Concerts Grand season.

Before 210 partisans in Center Theater, Casanova tackled an eclectic program centered on Beethoven and Latin music, with a quick side trip for two dreamy Liszt works. The Third Consolation, performed before the Third Liebestraume, brought from Casanova some of the best playing of the afternoon – note perfect, deftly phrased and rich with color. An adroit arpeggio at bar 55 delicately disclosed Liszt’s tasteful dissonance, and the ritards were substantial enough to almost break the musical line. Almost, but not quite.

Beethoven’s “Paisiello” Variations began the program, inauspiciously both because of some tentative passages and the ephemeral nature of the writing. The theme and six short variations are quickly forgotten, far removed from the great “Eroica” and “Diabelli” sets. Not so of course for the ever-popular F Minor Sonata, Op. 57 (Appassionata) which received a careful but committed reading. Casanova was never in any hurry to get anywhere, shedding light on the dramatic qualities of the opening Allegro assai, and managing well the difficult articulation problems in the second part of the second subject. This was not an Appassionata of heroic proportions, but one well thought out and played with rhythmic certainty. The fortissimo 13 chords that begin the finale were curiously played softly, with a slight crescendo at the end, defying the score but producing an engaging effect. The movement didn’t end with the expected full-throttle roar, but the high “Cs” in the right hand sounded with the requisite power, and the large gathering was immediately on its feet to cheer.

Three short Lecuona pieces began the second half, preceded by comments from the pianist. Malaguena, the best known (the others were Andalucia and Gitanerias) had the expected rhythmic subtlety, and the pianism was secure and idiomatic. The same can be said of Casanova’s transversal of Ginastera’s Danzas Argentinas, Op. 2, composed in 1937. These are energetic works, the concluding Danza del Gaucho Matrero having the most pianistic fireworks of the afternoon, with handfuls of skips, long glissandos and off-beat accents. It was a tour de force, and Casanova was brought back to the stage several times, relenting with one encore. Like the other Latin works on the program, the “La Bella Cubana” of Afro-Cuban composer Jose White was receiving a rare hearing in Ukiah, and Casanova played the lovely habanera with just the right mixture of flexible pulse and sensuous languor.

Elena Casanova is one of Mendocino County’s best musicians, equally at home with Liszt’s “Dreams of Love” and the piquant excitement of Ginastera’s Argentine Pampa.

The concert was recorded and filmed, something seemingly fitting for a genuine local hero.

N. B. - the writer is the Producer of the Concerts Grand series.