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Recital
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...
Recital
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 ...
Recital
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...
Recital
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...
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 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.”