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Chamber
EATRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti often used to appear in jazz venues (including SF Jazz and The Blue Note), but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of ef...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
RECITAL REVIEW
Music at Oakmont / Thursday, March 09, 2017
Einav Yarden, piano

Pianist Einav Yarden

NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL

by Terry McNeill
Thursday, March 09, 2017

Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont.

The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connoisseurs nor for popular taste, but was full of rarely-played music from always-played composers. Somehow Beethoven’s magisterial A-Flat Major Sonata managed to get into the mix.

Ms. Yarden has been specializing lately in Haydn’s middle period sonatas, and it was refreshing to hear a work for the first time, the F Major No. 44. She played it very well, using a lot of damper pedal at the end of phrases and keeping the drama small-scaled but effective. The pianist underscored the stylistic diversity and innovation of the opening moderato and paid careful attention to harmonic nuances, of which there are many in this work that doesn’t have the usual level of the composer’s playfulness. The adagio was lovely, the tempo just right.

Schumann’s last set of three Fantasiestücke, Op. 111, closed the first half. Here again the artist played the swirling phrases and sweep of the C Minor in a beguiling tempo, and made the lovely and fragmentary A Flat (No. 2) sound a little like Brahms. But only a little, as Schumann’s harmonies prevailed, as they did in the march like C Major finale that had echoes of the great march from the Op. 17 Fantasy in the same key. Ms. Yarden played the simple theme and quick descending motifs flawlessly, which made the middle section sound all the more graceful.

Following intermission the composer’s Waldszenen, Op. 82, received a performance that stressed the connective tissue between the nine sections: tonal balances, asymmetrical phrasings and many staccato chords and even phrases. There seems to be no forte chords in this piece from 1849, and the entire recital eschewed loud outbursts of sound. Highlights of the playing included the contrapuntal lines in “Solitary Flowers,” poetic and almost flighty playing in the B Flat “Friendly Landscape”, and the extended questioning and a long and delicate decrescendo at the conclusion of “The Prophet Bird.”

Many of the themes in Forest Scenes harken to Schumann lieder, especially the Op. 25 songs “Myrthen,” and Ms. Yarden captured these aural references with idiomatic phrasing and pellucid tone color.

Beethoven’s penultimate Op. 110 Sonata closed the program in a polished and never bass-heavy reading. This glorious Sonata from 1821 is deeply expressive in its three semi-distinct movements, and Ms. Yarden treated the opening moderato in a leisurely manner, amiable and always eloquent. She was never in a hurry

This approach characterized the figurations in the scherzo-like allegro molto and the lyric introduction to the noble fugue. Textures were clear and the cantabile was limpid. It was persuasive Beethoven playing, vivid and convincing. If there was any interpretative misstep it came at the end when the final five bars lacked the non legato punch down to the final a-flat note and the upward push to the last raw fortissimo chord. The musical ecstasy was just missed.

No encore was offered.

Four of Beethoven’s early and seldom-played Op. 33 Bagatelles opened the recital, and each was a gem. Mr. Yarden’s tempos were ideal, as was careful half-pedaling and in No. 2 spotlighting Beethoven’s sly humor. In the will-of-the-wisp No. 7 she played scales and quick repeated notes impeccably.