HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different.
All afternoon the pianist was in an aggressiv...
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013.
But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
HOME RECITAL BACH COMPLETES HOLIDAY SEASON
by Terry McNeill
Saturday, December 30, 2017
The just closing 2017 year was a calamity for many, but locally in music there were joys galore, and it was fitting Dec. 30 have the balm of two Bach’s violin sonatas in a private Guerneville home recital hosted by the eminent musician Sonia Tubridy.
Violinist Richard Heinberg joined Ms. Tubridy in...
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
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...
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 ...
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...
Organist Jonathan Dimmock
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 Sonoma State University. He is co-founder of American Bach Soloists and founding President of Resonance, which uses music in international conflict resolution.
The artist designed the program around Lutheran Chorales, which exemplify the profound effects of the Reformation on music, and Bach’s music played a central role. But Mr. Dimmock also featured music from other eras, starting with Sweelinck and continuing to Mendelssohn, Brahms and two modern composers, Bert Matter and Guy Bovet. Mr. Dimmock gave informative commentary throughout the recital and a projection monitor showed him playing at the console, giving the audience a sense of closeness to the performer who is located high above the stage and obscured by a portion of the organ.
Sweelinck’s Psalm 51: Erbarme dich, o Herre Gott - 6 variations (Have mercy on me, O Lord God) was a wonderful way to open the program. The chorale tune was clear in each variation and Mr. Dimmock’s expert choice of different registrations (sound color) for each variation was captivating throughout the piece. There was hearing a trumpet, then a singing principal and finishing with the sparkling overtones of a sesquialtera. Articulation is critical in bringing this style of music to life and Mr. Dimmock’s was impeccable, whether in the virtuosic runs or the serene slow sections. This was a perfect match of performer, music and organ.
Next came the first piece by Bach, the allegro (last movement) of his Concerto C Major, BWV 594, which is a transcription of Vivaldi’s Concerto D Major for violin. As you would expect from Vivaldi, it was very galant with Mr. Dimmock overlaying nice phrasing and agogic accents at the cadences. He also made good use of the organ’s two different keyboard divisions to contrast the tutti-ritornello and soli sections of the concerto.
Von Gott will ich nicht lassen (I shall not abandon God) by Dutch composer Bert Matter was a real treat. It starts with a simple statement of the chorale, which Mr. Dimmock played quietly, and then moved into a minimalist style, repeating short fragments of the chorale. It was absolutely mesmerizing. Mr. Dimmock’s control over the fast repeated notes never wavered, which allowed a listener to enter a trance-like state. He executed a convincing crescendo (with the help of organ stop-pullers) to a dissonant, fortissimo chord followed by an arrestingly stark silence. This was eventually broken by a short burst of minimalist figuration and a return to the chorale, which ended the piece with a soft, lush texture. It was a wonderful journey and definitely refutes the claim that “historically-informed” organs like the Brombaugh can only play music before 1750.
Bach’s Allein Gott in der Höh sei Her, BWV 676 (All glory be to God on High) from his Clavierübung III was the perfect piece to pair with the Matter, as it has a similar perpetual motion texture of running sixteenths throughout the piece. Its strict trio form can be registered to contrast the two upper voices, but Mr. Dimmock chose equal, but similar sounds for the voices, which created a fluid and transparent background from which the chorale melody would subtly emerge and recede. His playing was elegant and accurate for this tricky piece.
The first half closed with a monster by Bach, his Toccata and Fugue in D minor (“Dorian”), BWV 538. The Toccata bolted out of the gate on full organ and continued its relentless sixteenth note perpetual motion to the end. It is unique among Bach’s organ works in that it has authentic indications of where to change keyboard divisions for an echo effect, and Mr. Dimmock handled the many echo transitions seamlessly. According to the artist, the way we hear a Prelude (toccata) and Fugue played together today would be totally foreign to Bach, as they were rarely played together in his day. Therefore, the modern organist has a choice, do they continue the intensity of sound and energy into the fugue or do they create a contrast? Mr. Dimmock chose the latter, starting the fugue on the clean sound of the organ’s principal ranks, which allowed the counterpoint to shine through at the beginning, and then slowly adding stops to crescendo to fortissimo by the end.
The second half of the program explored the Romantic and modern eras with pieces by Brahms, Mendelssohn and Swiss organist Guy Bovet.
Mr. Dimmock paired the prelude from Brahms’ Prelude and Fugue in G minor and with his emotionally wrenching chorale prelude, Herzliebster Jesu, Op. 122, No. 2 (Ah, Holy Jesus). Brahms wrote very few pieces for organ and this combination provided a nice bookend of Brahms’ organ works, as the prelude was one of his early works and the chorale was one of his last. Mr. Dimmock did a fine job with the virtuosic arpeggios in the prelude and bringing out the rich harmonies of the chorale.
Mendelssohn’s Sonata VI for organ is based on Luther’s chorale, Vater unser im Himmelreich, which is his German paraphrase of the Lord’s Prayer (Our Father, who art in heaven). Mendelssohn was an important figure in bringing Bach’s music back from obscurity and one could sense his reverence for Bach’s art in the format of this sonata. It begins with a set of chorale variations, followed by a fugue, and interestingly, ends with a quiet andante movement. The artist played the first few variations with softer, more delicate registrations, giving the audience a feeling of the quiet before the storm that erupted on full organ in the last two toccata variations. The fugue followed on the clean sound of the principal pipes which allowed the interplay between the subject and countersubject to be heard clearly. The andante used the softest stop on the organ paired with the beautifully undulating tremulant, that gave it a serene, vocal quality.
The concert closed with a fun piece, Salamanca, by the Swiss organist Guy Bovet. Mr. Dimmock explained that Mr. Bovet would improvise a piece each year on his recital at the cathedral in Salamanca, Spain. One year the cathedral’s custodian asked him why he never improvised on a Spanish melody. So, the next year the custodian sang Bovet this melody and now it is played around the world. It begins by using a rhythmic tone cluster at the bottom of the keyboard to imitate a tambour (small drum) with the lively folk melody played on a high, fife-like sound. The organist did a great job of bringing the whimsy of this improvisatory piece to life at the beginning and then slowly turning that whimsy into the feeling of a wild dance through a crescendo to full organ and accelerando. It was a great end to the concert and fit the organ perfectly. The audience showed their appreciation with enthusiastic applause.
As an encore, Mr. Dimmock treated the Schroeder crowd to a lush, jazzy version of Erroll Garner’s iconic song Misty.