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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
RECITAL REVIEW
Dominican University of California Guest Concert Series / Sunday, November 15, 2015
Mikola Suk, piano

Pianist Mikolya Suk

SIC TRANSIT GLORIA SIGISMUNDI

by Terry McNeill
Sunday, November 15, 2015

One often hears of yet another new fiery Russian pianist, and the mental picture is of a 16-year old with octaves and temperament to burn. But older Russian artists can command a virtuoso’s seat the piano, as aptly proved by Mykola Suk in his recital Nov. 15 before 150 in Dominican University’s Angelico Hall.

Seventy years is of little consequence when a pianist has the vision and technique of Mr. Suk, and the recital juxtaposed two familiar works with several “old ghosts” in the repertoire.

Familiarity was contained in Beethoven’s “Moonlight” and Liszt’s “Dante” Sonatas. Both were played with exceptional attention to pianistic details, and the Liszt work (Fantasia Quasi Una Sonata: Apres une lecture de Dante) has been a specialty for the artist. It was not note perfect playing but Mr. Suk’s powerful octaves and tremolos in the treble gave the work the needed free rhapsodic character.

Unfolding at a moderate tempo the Beethoven C-Sharp Minor Sonata had many interesting touches: novel broken chords, unusual slight end-of-phrase pauses and avoidance of ritards. The Allegretto was played demurely and omitted any nod to the dance textures.

Mr. Suk tore into the Presto Agitato finale and played it with dramatic staccato chords and tumult when it was necessary, but also with blurred right hand scales and substantial damper pedal.

Two rarely-heard works, Beethoven’s improvisatory Op. 77 Fantasia and Hummel’s La Contemplazione (Op. 107, No. 3) passed without making much of an impression in the all-fantasy program, but Thalberg’s Moses In Egypt Fantaisie, Op. 33, a paraphrase from Rossini’s opera, certainly did. The late Raymond Lewenthal resurrected the piece and sporadically it appears on a festival or scholarly program. Here it had center stage.

Mr. Suk’s passage work with countless arpeggios and Rossini’s luscious tunes were impressive, and the loud repeated chords were telling. One has to either like opera paraphrases or not. I do. And Mr. Suk sits at the instrument (like Thalberg) with little extraneous motion. It’s all business for him, and one can be happy to have heard the “Moses” in such an artistic performance before it settles again into obscurity.

There was no encore.