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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
RECITAL REVIEW
Mendocino Music Festival / Saturday, July 16, 2016
Christopher Atzinger, piano

Pianist Christopher Atzinger

BALANCED VIRTUOSITY IN ATZINGER MMF RECITAL

by Terry McNeill
Saturday, July 16, 2016

Pianist Christopher Atzinger’s Mendocino Music Festival recital July 16 in the small Preston Hall looked formidable on paper larded with what might be said to be “non festival, non summer” music.

There were no light Gershwin or Schubert dance works, and for some the six pieces from Brahms’ Op. 118 are winter compositions that need ample cold, rain and fog. However, the Minnesota-based pianist paid no attention to this pedantry and played an echt 118, with the opening Intermezzo full of sweep and drama, followed by the subtle rhythms of the Intermezzo in A. A highlight was the E-Flat final Intermezzo where he captured the mournful mystery of the work but his formidible pedal technique occasionally blurred the surging left hand line. A spot in the sun.

The center of the afternoon’s program was the last work, Barber’s massive Sonata (Op. 26) from 1949. The performance clocked in at just over 20 minutes, slower than the seminal Browning recording and much slower than the pyrotechnical Horowitz version. But the piece needs the “air” that Mr. Atzinger provided to allow the lyricism to penetrate the many Fortissimo sections, especially in the opening Allegro. Adopting a furious pace in the skittish Vivace Mr. Atzinger easily moved into a ravishing reading of the Adagio, playing often the bell-like bass notes in pedal point and with a natural rise and fall of phrase.

In a period of pause he seemed to gird himself to do battle with the final movement’s dissonant and complex fugue, and he conquered it. Clarity of voices is critical here, not easy to do with the volcanic bass chords, but all went to a thrilling and thunderous conclusion. The interpretation and virtuosity in the Barber were among the best I have ever heard.

The nearly full Preston audience responded with an ovation, and Mr. Atzinger played one encore, a new-age bagatelle where inane up and down progressions seemed fatuous after the magisterial Barber.

This one lapse in taste never pervaded the recital’s other performances of Mozart’s B Flat Sonata (K. 570) and Chopin’s F Minor Fantaisie, Op. 49. The Mozart was especially good with judicious tempos and a warm tone from the mellow house piano. Mr. Atzinger played three cultivated ritards in the opening Allegro that demonstrated that he was not bound to a strict classical interpretation, and the following Adagio his control of gradations of sound and several novel “turn” figurations were superb. The Allegretto featured contrapuntal lines and spicy accented dissonances, understated but always telling.

The Chopin Fantaisie received a performance heavy on vocal statements, as the best Chopin always should. The famous heroic second theme was played with ardor and care, and the march sections at a fast clip. Changing gears, Mr. Atzinger played the Choral part with an unusual differentiation of voices, the main theme’s repeat quite fast and in a romantic gesture held the damper pedal lovingly before the three last phrases.

Leading to intermission was a Toccata from Canadian composer Pierre Jalbert, composed in 2001 and sounding like a required piano competition piece. But it was no less interesting for that, and though clamorous at times it had whiffs of the Ligeti Etudes. Mr. Atzinger’s command of left-hand block chords mixed with swirls of ringing right-hand notes was intoxicating.