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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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.