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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
CHAMBER REVIEW

Dmitry Rachmanov playing in Forsyth Hall

VIGOR AND PIZZAZZ

by Terry McNeill
Sunday, February 01, 2009

The Russian pianist Dmitry Rachmanov is a careful and attentive player with ample power when needed, and he brought these qualities to a Super Bowl-day audience Feb. 1 at SRJC’s Forsyth Hall. Though the repertoire was a little conventional, the performances were probing and memorable.

In several ways the opening work, Beethoven’s Variations in F, Op. 34, was the most finished presentation of the afternoon, the fifth recital in the current Concerts Grand season. All was in place – rhythmic control, subtle dynamics, and clear articulation. Each of these variations has an individual personality, elegantly brought out by the pianist. It was a rarely programmed piece played marvelously.

The afternoon’s cornerstone work, Schubert’s “Wanderer” Fantasie, D. 760, received all of Rachmanov’s pianistic artistry without being wholly successful. Make no mistake, the powerful momentum and drama needed in this work (which Schubert reportedly couldn’t play) were in place. What was missing was the comprehensive whole, the polish which Rachmanov lavished several years ago on works by Schumann and the Russian composer Nikolai Medtner in a Marin recital. Rachmanov had everything in hand with Schubert’s forward-looking work, including a secure octave technique, consummate phrasing and stamina to burn. After the recital the artist mentioned that it was only the second time he had ever played the great Fantasie in public, and pieces of that magnitude take time to gel. He has his arms around the Schubert, but it needs more refinement.

Following intermission two works were offered: Stravinsky’s Sonata from 1924 and the “Le Tombeau de Couperin” of Ravel. Stravinsky's thin-textured Sonata is in a Baroque style, though the Adagietto is florid and warm. Rachmanov’s playing here had solid rhythmic control and just the right amount of “detache” finger staccato. In the Ravel, the captivating and gentle outdoor-sounding Fugue in the final storm of the Toccata brought the small audience to its feet. The six pieces of “Le Tombeau” are Ravel’s homage to the 18th century and, like the Schubert, were played with urgency, if without the last measure of polish. The Rigaudon had the right dose of vigor and pizzazz, and the Minuet spotlighted the lyricism of the upper registers.

No encores were given, but Rachmanov enjoyed the acclaim and commentary of the piano cognoscenti after a recital filled with ardent and noble music.

The reviewer is the Producer of the Concerts Grand series.