Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
Symphony
LECCE-CHONG PROVES HIS METTLE WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, October 07, 2018
Francesco Lecce-Chong was handed two warhorses for his debut as conductor of the Santa Rosa Symphony, and he rode them both to thrilling victory. For the first win, Brahms’ violin concerto, he owed much to soloist Arnaud Sussman, but for the other triumph, Beethoven’s fifth symphony, he and his musi...
Chamber
THORNY BARTOK AND ELEGANT MENDELSSOHN FOR THE BRENTANO
by Sonia Morse Tubridy
Sunday, September 30, 2018
In a minor masterpiece of programming choices the Brentano String Quartet played a Sept. 30 Weill Hall program with an emphasis on refinement, even with a challenging Bartok work in the mix. Dvorák’s Miniatures for Two Violins and Viola (Op. 75a) opened the concert with charm and gentle loveliness,...
Chamber
ECHO'S RICH MUSICAL TAPESTRY IN MARIN
by Abby Wasserman
Sunday, September 30, 2018
Marin’s Echo Chamber Orchestra unfurled a glorious tapestry of Mozart, Weber and Respighi music Sept. 30 in San Anselmo’s First Presbyterian Church. The church, located on the grounds of San Francisco Theological Seminary, boasts a ceiling high enough for angels to fly, and its quiet setting and aco...
Recital
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloist’s role Sept. 23 in a sold out recital for the Concerts Grand House recitals series. Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
Symphony
SAKAKEENY'S LION AND ROSE HIGHLIGHTS SO CO PHIL'S 20TH SEASON OPENER
by Terry McNeill
Saturday, September 22, 2018
Fresh from a triumphant tour in Latin America the Sonoma County Philharmonic opened its 20th season Sept. 22 in a celebratory concert in the Santa Rosa High School Auditorium. Keeping to the evening’s orchestra history and past performance, conductor emeritus Gabriel Sakakeeny, who led the So Co Ph...
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...
RECITAL REVIEW
Mastercard Performance Series / Friday, May 05, 2017
Richard Goode, piano

Pianist Richard Goode

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 minor Partita (BWV 830) opened the Weill Hall program in a toccata of cascades and streams of arpeggios and fanciful chromatic flights leading to a serious and thoughtful fugue. The playing was straightforward with delightful use of pedal and touches of rubato. Mr. Goode uses the piano with all its colors and articulations, never locking Bach into "period" playing or attempting to imitate our poor knowledge of early styles. The allemande was elegant and playful, delicate and with rich tone, leading into the jolly corrente with its syncopated fun. Here the tempo was lively, allowing clusters of notes to be heard as units, and occasional additions of accents highlighted phrases creatively. Then came the air with solid weighted sound and some grandeur building to the sarabande. The slow and exotic sarabande is often the heart of a suite and so it was here: mysterious harmonies seeming often bent and twisted with heart wrenching suspensions, and very ornate writing leading to passionate peaks of emotion. The breezy relief of the tempo di gavotte, a simple joyful dance, preceded a tour de force gigue which was clear with all its complexity of fugal structure, syncopations and tumbling wild leaps. All voices were audible and unforced. There was no separation between pianist, instrument and composer.

Following the Bach the pianist chose Brahms’ 6 Klavierstucke, Op. 118. The juxtaposition of these two composers was inspired and one could hear the connection between Bach and Brahms through their chromatic harmonies, complex thematic work, dense textures and lovely lyricism. Opus 118 starts with an agitated wave of sounds rising out of the piano’s depths, beauty searching for a place in time. This is followed by a Romantic Lied and then a heavenly duet, a prayerful moment and and finally the duet returns with Mr. Goode bringing out inner voices with expert shadings. The third piece is a ballade, a story of impetuous adventure and a sense of hopeful endings. This had great clusters of sound with rapid tempo, but was never percussive. A charmingintermezzo led to a romance, a piece with warm spaciousness. The artist brought out the folk elements and had the piano imitating sounds of nature, birds, water, wind, sunshine and dark. The final Intermezzo is very mysterious and travels through mazes of searching harmonies, often very dark, to a triumph of joy and hope.

Following intermission the program continued with Chopin’s Nocturne in B Major, Op. 62, No. 1; three mazurkas (Op. 41 Nos. 2 and 3, and Op. 50, No. 3), and the Polonaise-fantaisie, Op. 61. The Nocturne was played movingly by this master of big and small gestures, color at his fingertips, trills creating shimmering melodies, the music glowing. Mr. Goode seemed to magically exceed the limitations of a piano. In the Mazurkas he created simplicity, Polish character, folk sounds, delicacy and heroism. The pianist was portraying dancing and weaving tales. The Polonaise-fantaisie commenced with tragic chords and delicate sounds rose out of them. Spectacular pianism with exquisite chord voicing led to the end where the last sounds heard could invoke "Ring the bells that still can ring…" (L. Cohen).

The evening’s finale was Beethoven's Sonata A Major Sonata,Op. 101. The allegretto was orchestral in its rocking rhythms and the vivace ala marcia had humor with sweetness always creeping in. One had a feeling of improvisation within a highly ordered environment. The Schumannesque recitative of the adagio was poignant. The rising interval of a sixth was a beautiful returning pianistic gesture, and the fugue was energetic and wild, at times possessed, but the pianist managed to keep careful melodic control. It was splendid!

An enthusiastic ovation followed from the audience of 400 and generated an encore: Janacek’s "Good Night" from the 1908 Suite “On An Overgrown Path.”