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Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Recital
IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL
by Terry McNeill
Sunday, September 23, 2018
Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloist’s role Sept. 23 in a sold out recital for the Concerts Grand House recitals series. Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long ...
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.  Of the surprisingly large array of festivities there, one of t...
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 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.