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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
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 connois...
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.