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Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
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...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
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...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
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...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
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
Mendocino Music Festival / Thursday, July 13, 2017
John Novacek, piano

Pianist John Novacek After Playing Intoxication Rag July 13

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 second half.

After intermission the Los Angeles-based artist began by choosing two of Shostakovich’s great Op. 87 Preludes and Fugues, the inaugural one from the set of 24 (in C Major) and the monumental D-Flat Major. The Prelude had a beautiful shimmer with bell tones, and heavy pedaling lent an aura of mystery to the drawn-out fugue. In the D Flat the pianist underscored the works sarcasm, and played the complicated fugue in just the right tempo. Mr. Novacek is not a colorist but in the demanding fugue nailed the work’s momentum and excitement.

Excitement continued with Ginastera’s Danzas Argentinas, an early Op. 2 work that has been popular since its 1937 composition. The Danzas del Viejo boyero was marked by agile playing of thirds, with the right hand only on the white keys, and the left hand on the black. and the haunting Danza de la moza donosa had an attractive “swing.” In the toccata-like finale (Danza del gaucho matero) the rhythmic accents are forceful, but the sound was too loud and clarity was lost in the driving ending.

Regarding the overall Preston Hall sound, this year the house piano was moved 180 degrees to the south wall, and somehow this seemingly unimportant instrument placement sporadically amplified Mr. Novacek’s fortissimo chords and upset contrapuntal balances and thematic clarity. But the Ginastera can take a lot of noisy playing, and the audience of 125 responded to the ending’s double glissando with a roar of approval.

Three of the artist’s own rags closed the program – Schenectady, 4th Street and Intoxication. Easy virtuosity and many false cadences were heard in the first, and the artist mentioned that he liked the rhythmic sound of the title. Fourth Street featured small trills and subtle accents that were languorous and charming with slow offbeat accents and subtle dissonances. This street felt hot and humid. He played it wonderfully.

The final work was intoxicating indeed, a roller coaster ride of pulsating sound and whole sections of ragtime sound played with the damper pedal down for bars at a time. Of course such a barnburner piece brought down the house. Surprisingly the energetic ovation did not produce an encore.

Nothing in the playing of the first half’s two works, Beethoven’s Op. 10, No. 2 Sonata, and Schumann’s masterful Op. 9 Carnaval, was in any way ordinary. But for me the sum of all the parts didn’t quite equal a consummate whole. The opening allegro of the F Major (1796) was played aggressively with a careful control of staccato chords and sharply etched phrases. Mr. Novacek caught the humor in the first and especially the last movement, the latter mirroring several of Haydn’s Sonatas. Articulation was crisp and the presto movement's tempo had firm control.

In speaking to the audience prior to the Schumann the pianist related the 1835 work’s creation, and then said he would verbally describe each of the 21 sections as the piece unfolded. Presumably most of the Preston audience found the process helpful, but some quietly decried the loss of small inter-piece connections and musical flow. I found the decision it a misstep, but a small one. More important was Mr. Novacek’s conception of this many-faceted composition, and his is a contemporary conception that spotlighted section architecture and histrionics rather than tone color, rhythmic flexibility and inner voices.

Some of the afternoon’s best playing came in the Papillon, Reconnaissance (fast repetitions) and Paganini sections. Paganini was played with a seco touch, and at a slower-than-usual tempo, and was persuasive. He omitted the mysterious Sphinx section, in contrast to the iconic Rachmaninoff and Cortot recordings. Aveu was played with a singing touch with time for a one patient big inner left-hand voice and layered pedaling at the pianissimo accelerando.

As the work drew down to the big descending chords preceeding the March Against the Philistines, Mr. Novacek produced the one convincing romantic retard in the performance, a delight, but then followed with fast and blurred playing in the March that became a tsunami of notes. Well, Rachmaninoff did the same thing, and generated the same result that presumably the artist wanted. It was propulsive but in the end did not sew up a lyrical, balanced and convincing Carnaval.