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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...
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...
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
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
RECITAL REVIEW
Redwood Empire AGO / Sunday, August 28, 2016
Paul Blanchard, organ

Organist Paul Blanchard

NORTH GERMAN CHORALES WERE MUSIC FOR THE SOUL AT AGO RECITAL

by James Harrod
Sunday, August 28, 2016

Organist Paul Blanchard played an outstanding and instructive recital August 28 at Santa Rosa’s First Presbyterian Church. It was the fourth and last in a series of summer Sunday recitals featuring organists of the local chapter of the American Guild of Organists (AGO), and underwritten by the Church.

“Music for the Soul - The Art of the North German Chorale” was an appropriate title for Mr. Blanchard’s recital, which opened with Mendelssohn’s D Minor Sonata, Opus 65, No. 6. The work based on the German hymn tune “Vater unser in Himmelreich” by Martin Luther. The Sonata was followed by a collection of six Bach chorale preludes, and one chorale prelude by Samuel Scheidt.

Mr. Blanchard introduced the program by asking the audience to stand and sing from the hymnal the hymn “Our Father who Art in Heaven” on which the sonata is based. The organist then played the multipart sonata (Chorale, Fuga, and Finale) with flowing note-perfect confidence, observing organ registration and phrasing authentic to the composer and the instruments of his time.

The short Bach works by demonstrated how the great composer used repeating short motifs within the preludes to express the moods of the chorales: “Have Mercy, Lord” (BWV 721); “Come Holy Ghost” (BWV 631); “O Lamb of God” (BWV 618); “I call to Thee” (BWV 639); “We are here, Lord Jesus” (BWV 633); and finally “Christ Lay in the Bonds of Death” (BWV 625). These Preludes were played with clarity and simplicity using both perfect Baroque manual touch and selection of organ stops. The beautifully varied registration chosen by the organist made each prelude uniquely expressive.

The less familiar Scheidt “Cantio Sacra,” SSWV 106, based on the tune “Warum betrübst du Dich,” closed the program. This is a 12-verset composition from an earlier musical time, and once again Mr. Blanchard’s educated choice of organ stops made each of the sections fresh to the ear.

The performer, Music Director at St. Paul’s Episcopal Church in Healdsburg, gave the audience excellent verbal explanations of the music, bringing everyone from the late Renaissance through the Baroque and into the Romantic musical era in reverse chronological order! It was a very satisfying recital.