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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
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.