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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs 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 effusive e...
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...
RECITAL REVIEW
Mill Valley Chamber Music Society / Sunday, March 12, 2017
Sara Daneshpour, piano

Pianist Sara Danespour

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-minute Boulez “Incises,” written the 1990s. Clearly it wasn’t going to be a conventional recital played routinely or timidly. Recitals don’t begin with Boulez.

“Incises” is a fast percussive piece with fistfuls of notes in both hands, and the artist explored all the piano’s registers with controlled strength. Her pedaling was especially effective in the parts of large washes of sound, alternating with skittish and ferocious sforzandos. The interpretation was unique with strumming effects overlapping phrases and the use of the sostenuto pedal for many measures produced a layered sound. The fermata at the end was long and sealed a potent reading of a ferocious work that was in some ways took artistic courage to program.

Muscular pianism continued with Ravel’s popular Gaspard de La Nuit, but surprisingly the opening Ondine began slowly with inner voices coming to the fore and the modulations underscored. But true to form Ms. Daneshpour deftly ratcheted up the temperature with lyrical sections that were also balanced and never forced. In Le Gibet the slow march was played at just the right tempo to hear the distant bell effects in the bass.

The artist had a command of pianistic sonority that changed from the controlled mezzo piano of the middle movement into virtuoso bravura in the fearsome concluding Scarbo. The rolled bass octaves gave a thunderous impact. Clarity is tough to achieve in this movement that is full of fast repeated notes and powerful climaxes, and at times Ms. Daneshpour’s treatment the diabolical nature of the music was on the edged of too much speed. However, the music can accept such sweep and power, and the audience rose for an ovation following the final eerie right hand notes that were played quietly and without any ritard.

Chopin’s F-Sharp Barcarolle began the second half and the artist took a measured approach with the Italianate melody and arabesque phrase shapes. It was a thorough and rhythmic steady reading that featured minimal rubatos and warm but never splendid tone color. Piano acoustics in the widespread Mount Tamalpais Methodist Church don’t favor rich legato playing and here some of the exquisite undulating theme was not lucid. This was unimportant in the Ravel and the to-come Prokofiev, but in Chopin’s Barcarolle delicate legato is critical.

Returning to the day’s big musical conceptions Ms. Daneshpour closed the recital with a pungent performance of Prokofiev’s Eighth Sonata, Op. 84. In the opening andante dolce the playing was less “dolce” than orchestral, and the artists shaped big contrasts and piquant inner voice notes leading to loud climaxes and an interplay of vocal lines at the end.

The second movement intermezzo was played with soft lyricism that belies the banal theme the composer magically develops. The final Vivace became in Ms. Daneshpour’s hands a lengthy rondo that was played mostly clamorously and with an insistent dissonant bass line. It was a bright and often-raw reading that sporadically had spirited lyricism. Though not as popular as the composer’s “sister” Seventh Sonata in the same B Flat key, the Eighth (finished in 1944) is the greater work, and Ms. Daneshpour’s formidable keyboard artistry and ability to dominate Prokofiev’s percussive and poetic score produced a compelling and convincing musical experience.

There was no encore.