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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
RECITAL REVIEW
Music at Oakmont / Sunday, April 10, 2016
Jeffrey Kahane, piano

Pianist Jeffrey Kahane

OAKMONT 25TH ANNIVERSARY CONCERT FEATURES KAHANE'S SCHUBERT AND CHOPIN

by Terry McNeill
Sunday, April 10, 2016

Jeffery Kahane spreads his musical largess widely. Since leaving a Sonoma County residence for Colorado the pianist has returned often for performances, the most recent the wildly successful ChamberFest series at the Green Music Center last summer.

April 10 found him again in Sonoma County, this time in recital before one of the largest attendances ever in Oakmont’s Berger Auditorium. It was a gala 25th Anniversary occasion for Music at Oakmont, and the artist mounted a probing performance of mostly familiar music to many raucous ovations.

The opening Rameau “Le Rappel des Oiseaux” and Couperin’s enigmatic “Les Barricades Mystérieuses” quickly disclosed the mood of the artist: mellow and elegant. This was not to be an afternoon of high drama, as I have heard from Mr. Kahane’s Beethoven readings. Le Rappel began judiciously, far slower than a pianist such as Gyorgy Sokolov chooses, and in the enigmatic Barricades the theme swelled beautifully out of a subdued and chaste fabric.

Two of the four pieces from Debussy’s 1890 Suite Bergamasque followed, the staccato chords of the Menuet clear and the legato touch in thirds and textures of the famous Clair de Lune were flowing and graceful. Audience appreciation of the familiar movement was instant and warm.

Three of Schubert’s four Op. 90 Impromptus (D. 899) ended the first half and were the recital’s highlight. Mr. Kahane adopted a detaché touch in parts of all three, all the better for the rippling and mostly halcyon music. The E-Flat Major was played fast but never above mezzo forte with deft pianistic modulating in the idle and subtly shaped phrases. Nothing was forced in the bucolic G-Flat Major, and in the concluding A-Flat Major Impromptu the artist’s impeccable right hand scales and poetic playing were rapturous. Anton Rubinstein called Schubert “sunshine in music,” and the pianist’s traversal of the Impromptus was radiant and refined.

After an extended intermission the mostly Chopin half began with two Mazurkas, the Op. 56, No 3 in C Minor, and the C-Sharp Minor, Op. 50, No. 3. If memory serves Mr. Kahane’s Mazurkas could border on the prosaic, but on this occasion each was beautifully shaped and even underplayed. The first had a lovely meandering quality, and the long C-Sharp Minor’s contrapuntal parts and many modulations were played with deep conviction. The ending notes of the Op. 50 were held until the line almost broke, but of course didn’t.

In his only words to the audience the artist announced substitution for a Chopin Waltz, Mendelssohn’s E-Flat Major (Op. 67) Song Without Words. A favorite work of his late mother Lori Kahane (an Oakmont resident), the playing stressed rich harmonic texture and nostalgia.

Of the final two extended Chopin, the Op. 61 Polonaise-Fantasie fared best, and the artist made it into a tone poem of probing beauty and harmonic growth. This late Chopin can sound loose structurally in lesser hands, but the artist was able to couple an improvisatory approach with lovely tonal shadings, while still holding the Polonaise rhythms.

I have heard Mr. Kahane play several times the great F Minor Ballade, Op. 52, and have never quite been on his wave length regarding its interpretation. As in the past he played the score energetically and accurately but without conveying its majesty and compelling emotional authority. In many places this music can be intensely Wagnerian (with themes that are vocal in character) as in the widely opposite recordings of Horowitz and Hofmann, but the pianist’s disposition today went in different directions. Applause was strong but not extended.

In a rare Oakmont turnabout there was no demand for an encore, and none was forthcoming.