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Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
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...
RECITAL REVIEW
Cinnabar Theater / Sunday, February 17, 2019
Daniel Glover, pianist

Daniel Glover Acknowledging Applause Feb. 17 at Cinnabar

GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL

by Terry McNeill
Sunday, February 17, 2019

Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfamiliar but always intriguing music.

At the outset it’s important to know that Mr. Glover does not structure his recitals in the usual format, and he loves to provide extended remarks prior to each piece. At times the commentary was wayward and arcane, but it was always laced with humor and sporadically with novel insights to the music. The pianist is a musical crusader, and tonight was often irrepressible with his stage energy carrying over to most of the music on the program

The evening’s pièce de résistance was Liszt’s seminal B Minor Sonata, and Mr. Glover’s interpretation of the masterful work from 1853 was at turns energetic, quietly lyrical and demonic. Liszt scholar Alan Walker feels the Sonata needs to clock in just under 30 minutes, and Mr. Glover’s performance was a fast 28, but it’s even possible to stretch the Sonata to 31 minutes (Garrick Ohlsson’s reading) by spending time sniffing the lovely flowers amongst the sonic thunder. In this recital the artist certainly wanted to project the work as high drama, attacking the under gunned house instrument with rapid-fire scale passages, repeated fortissimo chords and paying scant attention to extended rubatos and languorous parts. In the recitativo and andante sostenuto sections he played with an engaging poetry, letting in some air to the drama that was otherwise mostly absent.

Surprisingly the allegro energicofugue was played at a judicious tempo, and the interpretation grew in intensity towards the presto sections where running octaves in both hands demanded both speed and clarity. Mr. Glover’s octaves never failed him, and he left nothing on the table, and his copious wrong notes seemed only to establish that this performance was one fashioned with musical animation, potent motive projection and conviction.

Liszt’s six Consolations, from the same period as the Sonata, were played with the short E Major’s chordal legato seamlessly moving to No. 2 in the same key. The well-known D-Flat Consolation had the right-hand melody played slower than usual, but without much rhythmic subtlety at the end of phrases or attention paid to the mysterious dissonant chord five bars before the pianissimo end. Arpeggio playing in the D-Flat adagio was lovely, and the final E Major allegretto cantabile was subtlety poetic and at a brisk clip.

What could follow such provocative Liszt after intermission? Mr. Glover is often a man of repertoire surprises, and three works by Beryl Rubinstein were fascinating pianism with a French flavor, reminiscent of Poulenc, Chaminade and even bits of Chabrier. The toccata-like Arabesque was played with repeated echo notes in the right hand, followed by the mildly dissonant nocturne’s impressionism with phrases in slow modulations, and the big contrasts in the concluding caprice at a presto pace where the pianist managed clarity in difficult close hand positions. It’s a marvelous suite of beguiling pieces, and clearly congenial to the pianist.

Four Gershwin Preludes from 1934 were next, each with Broadway melodies tinged with jazz syncopations. Highlights for me were the heat-of-the-night wet sound (right out of “Porgy and Bess”) with ostinato accompaniment in the andante con moto e poco rubato and the brilliantly played rhythms of the allegro ben ritmato e desiso. Beryl Rubinstein’s transcription of “Bess You Is My Woman” from Gershwin’s 1935 Opera “Porgy and Bess” followed, and here the pianist opted for some unique inner voices in the intricate contrapuntalism. It was a wonderful evocation of Gershwin’s singular genius.

Concluding the all-American composer second half was Gottschalk’s sparking F-Sharp Major “Banjo,” Op. 15, written at the same time as the Liszt Sonata but worlds apart in style and effect. The artist frequently mimicked the twang and pluck of the string banjo in repeated figurations, and his acrobatic skips in both hands were impressive along with inspired presentation of the captivating themes and pianistic sonority.

Of course it brought the house down, and Mr. Glover responded with additional Gershwin Broadway Show pieces, “The Man I Love” (from Lady Be Good) and “I Got Rhythm” (from Girl Crazy). Both were excitable performances, each with a nod to pianist Earl Wild, in the vein of musical theatricality that characterized a splendid recital.