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Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, December 13, 2020
December 13 was a rainy day, perfect for huddling indoors and watching a prerecorded “live” performance by the Santa Rosa Symphony. The program was expansive, with music from the 18th through 21st centuries, and the mood was festive, in keeping with the holiday season. There was something in the fea...
Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
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...
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.