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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
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...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
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...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
Symphony
MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS
by Terry McNeill
Saturday, January 27, 2018
Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center. Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaga...
Chamber
ECLECTIC ANDERSON & ROE TRANSCRIPTIONS CAPTIVATE WEILL HALL AUDIENCE
by Nicki Bell
Sunday, January 21, 2018
From the first moment when Greg Anderson and Elizabeth Joy Roe walked Jan. 21 on the Weill Hall stage and spoke to the audience about their two-piano program, it was clear that an afternoon of drama, humor, virtuosity, warmth, transcendence and excitement was in store. This dynamic and mesmerizing ...
Chamber
BALCOM TRIO HIGHLIGHTS DELPHI'S RAC CONCERT IN OCCIDENTAL
by Sonia Morse Tubridy
Saturday, January 20, 2018
The Redwood Arts Council audience first met the Delphi Trio (Jeffrey LaDeur, (piano), Liana Berube (violin), and cellist Michelle Kwon) in 2013, and subsequent concerts in the same Occidental hall have become crowd favorites. The January 20th program before a capacity audience seemed to have enthus...
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.