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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
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.