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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...
Symphony
AMERICAN CLASSICS SPARKLE UNDER KAHANE’S BATON
by Steve Osborn
Saturday, March 16, 2019
Jeffrey Kahane, the Santa Rosa Symphony’s former conductor, returned to the Weill Hall podium on Saturday night, and the results were expectedly wonderful. The concert of American classics was by turns playful (Gershwin’s “An American in Paris”), emotional (Barber’s violin concerto) and triumphant (...
Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
RECITAL REVIEW
Music at Oakmont / Thursday, February 08, 2018
Chin-Un Hu, piano

Pianist Ching-Un Hu

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 aggressive and speedy mood, beginning with the complete Rachmaninoff Etudes Tableaux, Op. 39. These nine works from 1917 are far removed from the more popular studies from Op. 23 and 32, and mostly portray dark sonorities in knotty figurations and powerful rhythmic surges. Missing throughout the set was a warm piano sound, contributed to by the instrument’s bright top-end and of course the composer’s constant fist fulls of notes. Lots of notes, but they were great notes, and building blocks for Mr. Hu’s dramatic contrasts and big chords.

Highlights for me were the long ending fermata in the opening C Minor; the lyrical “wind and water” voicing of the A Minor (No. 2, that Respighi orchestrated so mysteriously); the accurate heraldic skips and doubled staccato chords in the allegro molto; the left-hand rumbles and graded ritards in the E-Flat Major appassionato; and finally the improvisatory and pianistic playing and dissimilar repeats in the A Minor allegro. Repeats that were varied, a welcome romantic pianism touch.

These were formidable short “tone poems” played well with the needed speed and momentum. This approach continued after intermission with Earl Wild’s Gershwin transcriptions – Embraceable You, Fascinatin’ Rhythm and the happiest of the three, I Got Rhythm. Each was a tour de force in quick scales and contrasts – jazz, a bit of Ravel, many arpeggios. The open textures and rolled chords revealed the piano going out-of-tune in the treble.

Chopin’s Op. 2 Variations on the “La Chi Darem La Mano” theme from Mozart’s opera Don Giovanni was next, a substitute for an Alkan piece. The playing had the easy charm and tour de force of scale passages characteristic of early Chopin and Thalberg, with legato and non-legato passages vying vigorously. It was the most bewitching piece in the recital.

Continuing the program’s focus on pianistic velocity were two Kapustin Concert Etudes from Op. 40. These were both played with a fiery technique, the first in presto revolving phrases, and the second with parts languorously sounding like Palm Court music from the 1950s. Ms. Hu’s command of tsunamis of notes was complete and the offbeat accents and intricate harmonies posed no difficulty for her. The program’s second standing ovation ensued, though not vociferous.

Prior to an encore (Rachmaninoff’s Op. 21 Lilacs) Ms. Hu announced that she was shortly to record an all-Rachmaninoff CD. The melancholic Lilacs was reminiscent of Chopin and was played vividly with a hazy use of damper pedal.