Home  Reviews  Articles  Calendar  Presenters  Add Event     
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...
RECITAL REVIEW
Green Music Center / Friday, April 26, 2019
Gil Shaham, violin; Akira Eguchi, piano

Gil Shaham and Akira Eguchi April 26 in Weill Hall (Green Music Center Photo)

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 spanning four centuries of music.

The duo opened the program with Kreisler’s exhilarating Praeludium and Allegro. The piece, which Kreisler pretended for years was by the Baroque composer Gaetano Pugnani, opens with breathtaking leaps in shifting intervals of four, five, six, eight and 10 notes in the soprano register while the piano line reminds us of the presence of gravity with slow block chords. Mr. Shaham performed with a breadth of feeling that this tour-de-force requires.

Scott Wheeler’s delightful The Singing Turk: Sonata No 2, plays daredevil tricks of its own and merits future performances. Wheeler was inspired by Larry Wolff’s 2016 book The Singing Turk, about the role of Turkish characters in 100 European operas written between the 1680 and 1820 during the Ottoman Empire. Drawing lightly from Handel’s Tamerlane; Gilbert’s The Three Sultanas; and Rossini’s The Turk in Italy, the three movements create musical conversations of Wheeler’s own. The first, “Sù la sponda,” evoked two strangers walking along a shore involved in their own thoughts. There were spurts of notes and violin pizzicato, with shimmering pianism from Mr. Eguchi, bearing snatches of melodic thoughts coalescing eventually into a duet. Movement two, “O vous, que Mars rend invincible,” was somber and delicate, and the third movement, “In Italia,” featured themes in the piano part with a sparkling pulse while the violin part dazzled with a perpetual motion speed.

Mr. Shaham’s sound is light, pure, and mutable. With his magical bow he achieves unusual softness in high registers. His pianissimo can whisper, then grow to an amber mezzo forte or rough fortissimo in a nanosecond. He demonstrated all of this in Israeli composer Avner Dorman’s Nigunim, a thickly textured stew of Jewish music from many cultures and many time periods. The work was commissioned in 2011 by Mr. Shaham and his sister, pianist Orli Shaham, and premiered by the siblings in New York that same year. Within it are the textures and emotions of Jewish music in North Africa and the Middle East, with some non-Jewish musical traditions mixed in.

There are four movements and the first, adagio religioso, begins almost noiselessly. Mr. Shaham’s bowing was eerily quiet, as though heard from a far distance. The piano sounded a theme, inviting the violin to come closer, as it did before again evaporating into the ether. The second movement, scherzo, incorporates Georgian folk rhythms and Turkish/Middle Eastern drone sounds. Its vivid melodies are drawn from Ashkenazi music. In the third (adagio) movement, the piano part evokes water dripping onto a rock or ice melting from a roof, and culminates with a prayer-like melody. The ecstatic presto fourth movement blends Jewish music of Eastern European with Macedonian folk dances. It was a rousing performance by both artists of a complex work, leaving an indelible impression of a rich musical heritage and its cross-cultural influences.

After intermission Mr. Shaham returned to play Bach’s E Major Partita No. 3 (BWV 1006), and he chose a brisk tempo, faster than it is often played, yet it was not really rushed. He employed expressive vibrato and rubato to define the borders of each of the six movements (he played the two Minuets without separation). Performed without a score, unlike the rest of the program that was with a score on tablet, this was Mr. Shaham’s most intimate conception. At times he turned in profile, moving along the apron of the stage as though alone in his studio, then turning and smiling almost shyly at the audience as though saying, Yes, we are here together experiencing the incomparable beauty of Bach’s music. The Preludio first movement, with its gorgeous chromatics, was a standout of the evening. Mr. Shaham plays expressively with his entire body, his face seemingly reflecting how the music affects him.

Franck’s Sonata in A Major, written for his friend and fellow Belgian Eugène Ysaÿe on the occasion of Ysaÿe’s wedding in 1886, was the evening’s final selection. Franck was a pianist, and Mr. Eguchi’s virtuosity shone in this performance. He had consummate discipline in maintaining a balance with the violin, and though he played strongly and with nuanced inner voices, he could have brought out the gorgeous piano part in the second movement more without overwhelming the violin part. It’s nearly as much a sonata for piano as it is a sonata for violin. The third movement recitativo-fantasia: ben moderato was a performance standout, sensitive and uplifting in the way that only lilting melancholy can attain. As though bookending the Kreisler work, Mr. Shaham’s violin sound floated from note to note in lovely intervals during this movement, like a spider spinning silk.

A standing ovation arose from 600 in the hall, and three curtain calls later, the duo took the stage a last time to play an encore of Bolcom’s elegant Graceful Ghost Rag, a perfectly laidback, delicately rhythmic end to a soul-satisfying musical evening.