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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
Mendocino Music Festival / Thursday, July 16, 2015
Ching-Yun Hu, piano

Pianist Ching-Yun Hu

ELEGANT SCRIABIN, CHOPIN AND GRANADOS IN MENDO FESTIVAL RECITAL

by Terry McNeill
Thursday, July 16, 2015

Taiwanese pianist Ching-Yun Hu made a formidable Mendocino Music Festival debut recital July 16 in Mendocino’s Preston Hall.

A full house warmly greeted the diminutive artist, and she responded with a pensive and then dramatic performance of Scriabin’s Sonata Fantasy, Op. 19. Writers refer to this work as related to the sea, appropriate to this venue where at intervals the distant surf can be heard. This year is the 100th anniversary of Scriabin’s death, and the G-Sharp Minor Sonata has become, with the exception of the composer’s Fifth Sonata, the most often played.

Ms. Hu deftly combined the concentrated lyricism of the first part with the stormy flights in the second Presto part. And she didn’t stint on damper pedal use, and the music needs a lot. The house piano, adequate if not exceptional, is voiced warmly rather than brightly. This added to the richness of the tone but in legato passages produced muddy scales.

Ms. Hu’s announced to the audience that Schubert’s Drei Klavierstücke (D. 946) was a personal favorite, and these three works from the composer’s last year closed the first half with diverse effects. The opening E-Flat Minor was played loudly with many telling repeated chords, putting the soft lyric song of the second E-Flat Major piece into sharp relief. Ms. Hu played it simply and with elegance. The artist highlighted the syncopations and harmonies of the final piece in C Major.

Four Chopin works comprised the second half with the afternoon’s best playing coming in the shortest work, the E Flat Nocturne of Op. 55, No. 2. Rhythmic subtlety approaching Ignaz Friedman’s iconic 1936 recording was a delight (praise can go no higher), as was Ms. Hu’s command of pianissimo. The repeated right-hand A and B Flat notes had a character of bells, and she artfully pedaled the ethereal transition to the final two chords that held me spellbound.

The Barcarolle and the E Major Scherzo received workmanlike readings that uniquely in the recital had inner voices, half-pedaled fast ascending scales, and at the return of the big theme in the Scherzo a delicate ritard that almost broke the musical thread. Almost. The tempos in both works were on the fast side and Ms. Hu seemed most comfortable when the music called for performing fast running passages in both hands, as it was in the interpretation of Chopin’s early bravura E Flat Rondo, Op. 16.

One encore was offered, Granados’ Spanish Dance No. 2, “Oriental.” It was played languorously, though not slow, and was bewitching in well under five minutes with a luxurious sonority and tranquil ending that kept the audience hushed for many seconds before applause.