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Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
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.