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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...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
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...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
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...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
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.