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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 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...
Choral and Vocal
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...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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.