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Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Recital
DEDIK RECITAL MARCH 12 IN SPRING LAKE VILLAGE SERIES
by Terry McNeill
Monday, March 12, 2018
Pianist Anastasia Dedik has been an occasional North Coast visitor, playing with her Trio in Ukiah, and in recitals in Sonoma and with the Spring Lake Village series. She returned March 12 to Spring Lake (a retirement community, with Impresario Robert Hayden) in an abbreviated recital before a pack...
Recital
CHOPIN BALLADES FEATURED IN CONCERTS GRAND RECITAL
by Terry McNeill
Saturday, February 24, 2018
Pianist Nancy Lee Harper made an elegant North Coast debut Feb. 24 in the Concerts Grand House Recitals series in a private Santa Rosa home. Ms. Harper, for decades a performer and teacher in Portugal, has recently relocated to Northern California, played an all-Chopin recital that was comprehensiv...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Recital
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...
Recital
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...
Recital
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...
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 REVIEW
Redwood Empire AGO / Sunday, June 25, 2017
Robert Young, organ

Organist Robert Young

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 Director at St. Patrick’s Episcopal Church in Kenwood.

The artist designed the program around two of the giants of the stylus fantasticus, Buxtehude and Georg Böhm, both of whom had a profound influence on the development of Bach’s music that was featured in the third part of the program. Mr. Young gave informative commentary throughout the recital explaining how each piece exhibited the fantastic style as well as the relationship between the three featured composers. History now shows that Bach likely studied with Böhm and it’s known that the young Bach walked more than 250 miles to hear Buxtehude play.

Buxtehude’s Praeludium in G minor (BuxWV 149) is one of the best-known works of this style and was the perfect way to open the program. It is a text book example, starting with a free improvisatory section of technical brilliance for the hands and feet, which is followed by a quieter fugal section, then a quick ritornello bridge to a grand fugue and improvisatory ending. Mr. Young brought the piece to life with his spirited playing and expert choice of different registrations (sound color) for each section.

He finished the Buxtehude section of the program with one of his most beautiful chorale preludes, “Nun bitten wir den heiligen Geist,” BuxWV 208 (We now beg the Holy Spirit), which has the chorale melody as an ornamented solo in the right hand with imitative accompaniment in the left hand and pedal. It was the perfect antidote to the opening piece as Mr. Young used the quieter stops of the organ with a nice mutation and tremulant to give the melody an otherworldly feel.

Next came the first piece by Böhm, his chorale variations on “Auf meinen lieben Gott” (In my beloved God I trust). Böhm is credited with developing the Chorale Partita form and this set of four manuals-only variations was a perfect little example of his craft. While less free than some of the wild Praeludia of the time, it definitely exhibited elements of the fantastic style with the first variation opening with a flourish of running sixteenth notes and an ornamented melody followed by a fugal variation, which Mr. Young nicely contrasted with a spikey articulation on the first and a stately elegance for the fugue as well as with his choice of registration, choosing overtone laden mutations for the first and clean, clear principals for the fugue. The third variation was a bicinium (two-part piece) with an interesting basso continuo voice, highlighted nicely with a cornet stop, which accompanied a mostly unadorned melody in the right hand. The set finished with a grand trio that devolves back into a few measures of technical bravado showing that even when trying to be more restrained, the fantastic style still comes through!

The Böhm section finished with one of his non-partita chorale preludes, “Gelobet seist du, Jesu Christ” (Praise be to you, Jesus Christ) which provided a welcome moment of rest after the energetic partita. Mr. Young played on the quiet bourdon stops of the organ with a lovely legato touch for the accompaniment and a pleasantly nasal reed for the plaintive character of the melody.

Then it was time for Bach, but youthful pieces that still clearly exhibit the influences of the stylus fantasticus masters, Buxtehude and Böhm.

Bach’s “O Gott, du frommer Gott,” BWV 767 (O God, you righteous God) is one of his chorale partitas with many of the same figurations and textures of the Böhm example earlier in the program, but Bach is always extending things, including the chorale and eight variations! It opens with a simple statement of the choral which Mr. Young played on the organ’s singing principal sounds and continues through eight wonderfully different manuals-only settings of the chorale from two-part to trios to a grand finale which some have conjectured was influenced by the French dialogue organ style with contrasting forte and piano phrases. Mr. Young kept the listener’s attention with a wide array of registrations giving us a nice tour of the Casavant’s tonal palette.

The Bach section closed with his two settings of “Jesus Christus, unser Heiland,” BWV 665 & 666 (Jesus Christ, our Savior) from the Leipzig Chorales. Mr. Young’s interpretation of BWV 665 was very dramatic with near full organ in the manuals for the running sixteenth notes and a resounding reed highlighting the quarter note melody in the pedal. It was everything people expect when they think of organ music and Mr. Young did not disappoint. BWV 666 is more introspective with a lilting 12/8 meter and the melody unadorned in the soprano. The artist’s choice of a simple quiet flute stop allowed the listener to focus on the beauty of the figuration which moves from tranquil eighth notes in the beginning to flowing sixteenths in the last half of the piece.

The concert closed with Böhm’s most enigmatic piece, his “Präludium, fuge und postludium” in G Minor, which is equally effective on the organ or harpsichord. It is a wild piece and Mr. Young even commented that it looks crazy on the page and it took him a while to get his head around the work. The Präludium throws you off from the beginning as it starts on beat two of a triple meter and continues building up a relentless series of half-note chords from a single bass note up to six voices. The fugal section doesn’t provide any rest as the spritely subject keeps the energy going right into the postludium, which provides a mirror to the präludium with a series of downward sixteenth note arpeggios that drive to a chordal full-organ adagio. Mr. Young warned us not to clap too early as once we think the piece is over, there will still be the postludium to come.

It was a great end to the concert and the large audience showed their appreciation with enthusiastic applause. A member of the Vestry at Incarnation thanked Robert and said it was wonderful to have someone who can make their organ sing so beautifully each Sunday. There was no encore, which was welcome given the heat of the afternoon.