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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

HALIDA DINOVA PLAYING SCRIABIN'S PRELUDE IN D AT JB PIANO

SHORT WORKS PROVE LONG ON CHARM

by Terry McNeill
Thursday, February 12, 2009

Russian pianist Halida Dinova returned to familiar territory on Feb. 12 — the recital stage at San Rafael’s JB Piano Emporium — and produced a concert short on major repertoire works but long on charm and drama. The small audience well knew what would be forthcoming: an evening of virtuoso playing, the best post-recital reception in Marin and a collegial atmosphere of shared musical delight.

The evening’s single work of extended duration, Haydn’s E-Flat Sonata (XVI 52), received a leisurely but sympathetic reading, surprising as the outer movements are usually played at high speed and the rhythmically complex Adagio given a greater dose of naughty humor. Dinova’s scales were masterful, never more so than in the finale, and the repeated note figures were brilliantly delivered. She nearly lost momentum several times in the first movement, overly prolonging the silences between the long phrases, but Haydn requires a delicate balance between artistic repose and ongoing urgency. The many hand crossings and off-beat accents were managed with perfection. Here and there little touches emerged — a rolled chord at the end of the Adagio, the elegant arpeggiated chords throughout the finale — and her crystalline scales were displayed throughout every passage, slightly staccato.

The rest of the recital consisted of twelve short works, perhaps a fitting farewell to a lengthy West Coast tour and a desire to disclose to local piano fans a wide variety of composers. She opened with two Chopin Waltzes from Op. 64, playing each with large tempo fluctuations that continued in a third and equally brilliant waltz, the E Minor, published after Chopin’s early death.

Debussy’s magnificent Reflet dans l’eau was the highlight of the concert, its arpeggios and cascading figurations resplendently performed. Dinova elicited an iridescent spectrum of color from the JB Emporium’s Grotrian 280 piano, both here and in a languorous but especially lovely Claire de lune.

Scriabin came next, the early Op. 11 Prelude in D properly wistful, and the composer’s most popular work, the thunderous Etude in D-Flat from Op. 12, which the dancer Isadora Duncan once described as a depiction of the suffering of the Russian people. Dinova playing of the Etude was dramatic without any pounding, even though she played the original version of the Etude score with the forte ending chords.

Tchaikovsky was also on the program, with the final two parts “The Seasons,” Op. 37b. Both the “Troika” and the concluding waltz “Christmas” were rendered with telling grace and rhythmic flexibility. Dinova’s supple left hand and chaste tone provided an object lesson that compositional mastery is most easily experienced in succinct pieces.

Four Rachmaninoff works ended the program, the most tempestuous being the E-Flat Etude Tableaux from Op. 33. Here all the elements were brought into sharp relief, and the broad melodic line was alternatively declamatory and elegiac. The three Preludes (Op. 23, No. 6; Op. 32, No. 5; and the popular Op. 23) seemed almost an anticlimax after the resounding Etude. Nonetheless, Dinova’s control of pianissimo and half pedal were breathtaking. One example: the last three chords of G-Major Prelude of Op. 32. Here each was invested with its individual personality, the pause between each was fragile, the melancholy palpable.

Two encores were offered, a Mendelssohn Scherzo with elfin octave playing, and Liszt’s transcription of Schubert’s song “The Miller and the Brook.” Curiously the last was unsuccessful, as Dinova’s attack was harsh, the nostalgic charm lost in clangor and a lack of repose.

Though Dinova’s selections were mostly brief, she is a pianist with formidable interpretative and technical powers, and her recital was equal to her memorable JB recital of 2006, when she conquered the audience with the complete Chopin Preludes.