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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.