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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
Music at Oakmont / Thursday, February 11, 2016
Joel Fan, piano

Pianist Joel Fan

FAN RETURNS TO OAKMONT IN AN ECLECTIC RECITAL

by Terry McNeill
Thursday, February 11, 2016

New York-based pianist Joel Fan hasn’t been a stranger to Sonoma County, having played in both the Concerts Grand and Music at Oakmont venues. February 11 he returned to Oakmont’s Berger Auditorium in an eclectic and often electric recital before 200.

Beginning with Ginastera’s first Sonata Op. 22, Mr. Fan gave the popular work from 1952 a pulsating reading that stressed the contrasting textures and meters. In the Presto double octaves didn’t fail him, and there was palpable mystery and lovely soft playing in the Adagio molto. Even here there is a continual restless quality that the pianist portrayed. In the Ruvido ed ostinato finale Mr. Fan managed the toccata-like effects without pounding, the clarity of the chords and skips admirable. The composer wrote it with a distinct nod to Prokofiev’s famous Precipitato movement from his Seventh Sonata of 1943.

It was a reading that brought out the needed motor excitement of Ginastera’s piano writing (as in the “Danza del Gaucho Matrero” from the earlier Danzas Argentinas), and Mr. Fan spoke to the audience reflecting on his Ginastera interest and the centenary of the composer’s birth.

Recently Mr. Fan toured China and brought to the Berger stage three fetching works from the trip, Autumn Moon Over the Still Lake, Liuyang River and Plum Blossom. All were audience favorites. The tranquil “Autumn” featured murmuring arpeggios and subtle pedal effects, and “River” was a jaunty exploration of colorful harmonic progressions, faintly Ravel-like. There were lots of notes and a movie-music background effect, aural pleasure in every phrase.

Jianzhong Wang’s “Plum” was the most complex of the three, exploring more the bass register of the piano and featuring pedal point, counterpoint in the variations and little bursts of energy. Mr. Fan played them sui generis. These not-recent works are wholly conservative harmonically but no less charming for it. An intriguing and happily satisfying program choice by Mr. Fan.

Following intermission Liszt’s B Minor Sonata was played, a seminal 19th century romantic work that is the center of any recital where at appears. A good performance should clock in at about 30 minutes, giving
breathing space for the chorale and lyrical segments in the midst of the famous Presto octave passages and massive fistfuls of chords. The pianist never faltered in the Sonata’s formidable technical demands, but the 26-minute performance duration (a la Argerich) disclosed some important shortcomings.

This afternoon Mr. Fan mounted a conception of the 1853 one-movement Sonata that featured quick phrases, clarity in passagework, silvery octaves and clean fast trills. This approach has many admirable facets, as it moves the often dense interior writing into distinct small sections, illuminating the repeated left-hand motives and unifying what to some is a sprawling structure. The pianist’s dry and then half-pedal runs were precise and often sparkling, and the fermata before the coda was long and put a cap on the preceding and powerful octave-laden drama.

Missing in the performance was a critical part of Liszt’s genius, that of majesty. Again and again the score unfolded in hurried phrase endings and transitions, lack of rubato in voice leading and musical nobility that can come with reveling in the instrument’s sonority, and for many the B Minor Sonata’s heroism and religious underpinnings. An example of these omissions would be the perdendosi and triple piano 14-bar section before the beginning of the fugue, where Mr. Fan’s mundane playing overlooked the haunting character of the sublime and anticipatory writing.

Two encores were offered to solid but not strenuous applause, Piazzolla’s “Flora’s Game” and a popular contemporary Japanese song, “Castle in the Sky.” Both were played compellingly, the first a captivating seven-minute tango that could also have come from Villa-Lobos or Ginastera. Piazzolla has a lock on beguiling classical music milango tangos, reminding venerable Oakmont listeners of pianist Gila Goldstein’s “Oblivion” tango performance on the same stage.

The second (“Castle”) was the pianist’s own transcription with a more interesting harmonic structure, beautifully played with luminous tone and deft phrasing.

Joel Fan’s artistry has matured in many ways since appearing at Oakmont in 2011, and his playing now is more polished and sure footed. And he is a master programmer, balancing the new, old, foreign, familiar and conventional in consummately impressive parts.