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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...
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...
RECITAL REVIEW
Music Teachers Association of California So Co Branch / Sunday, January 10, 2016
Sophia Sun, piano

Pianist Sophia Sun

SUN'S WARM RECEPTION IN A CHILLY HALL

by Terry McNeill
Sunday, January 10, 2016

Program design for a piano recital is most often a decision to perform a few big sonatas and variations, sometimes by one composer, or a smorgasbord of shorter works. Sophia Sun chose mostly the latter in her local debut recital Jan. 10 before 150 in SRJC’s Newman Auditorium.

Sponsored by the Sonoma County branch of California Music Teachers Association, the hall was sprinkled with piano teachers and students, and Ms. Sun began with the big Bach Chromatic Fantasy and Fugue (S. 903). It was a performance based on finger dexterity rather than architectural strength and baroque warmth, and it was an unsteady start that perhaps was augmented by the hall having no heat. The pianist took too much time to begin the Fugue that allowed a disruptive burst of audience applause.

The afternoon’s only extended work was Beethoven’s E Major Sonata, Op. 109, a glorious three-movement Sonata that demands of the pianist introspection, warm cantabile and no small amount of fantasy. The best playing came in the six variations of the finale that rose to a strong climax before subsiding into a quiet return of the theme. The fugue was labored and left-hand passages too loud for good balance.

Before intermission the “Young Juliet” section of Prokofiev’s Op. 75 “Ten Pieces” was played, the themes generated by the composer’s ballet from 1937. It was jaunty and beguiling pianism with a chaste and tender ending, balancing deftly the sketch-like parts.

Four pieces comprised the second half, with Rachmaninoff’s Elegie in E from 1887 the only rarity. The Liszt Concert Etude in F (La Leggierezza) was first, played at a far too timid tempo (but with one delicious inner voice) that later worked well with the Rachmaninoff. Dropped notes aside, the Elegie lacked the last ounce of restful lyricism that constitute the piece, even in the loud part before the coda.

Schubert’s E Flat Impromptu (Op. 90, No. 3) was the penultimate piece, and Ms. Sun played it well and made the most of the contrasts in the mid section and the seductive finger passages in the outer sections. The artist fashioned a chaste and alluring ending, holding the audience in silence.

The seminal Chopin G Minor Ballade opened with just the right drama, tension and release of tension. Chopin’s four Ballades tell semi-secret stories and this interpretation unfolded with promise until technical problems with messy right-hand octaves and those pesky memory slips intruded. The playing in thematic statements and in repitions could have been slowed down for clarity while still keeping the emotional impact. Drama doesn’t have to be loud and fast to be thrilling.

Throughout the recital Ms. Sun addressed the audience with verbal program notes, and at the end (there was no encore) she spoke of her youthful musical training with what must have been inspirational examples for the many students that cheered her. With the specialized education audience Ms. Sun could have talked less and illustrated at least some of her commentary at the piano, increasing general understanding.

In addition to the hall’s chilly temperature the program was plagued by small production problems, mainly due to the lack of College staff during fall class break : the lack of a microphone that rendered talk from the stage too distant for understanding, not enough programs; stage lighting that didn’t work, and an out-of-tune and poorly voiced house piano. There was little tonal bloom in the instrument that has for years flaunted a beautiful treble.