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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
REVIEW

Philip Glass at his piano

BEYOND THE SOPORIFIC

by Terry McNeill
Thursday, February 19, 2009

Reactions from listeners to the music of Philip Glass usually are of two types. One group flees quickly from the hall and concludes that Glass is a mere shadow of the greater minimalist composers Reich, Adams and Riley. Others, with more patience and curiosity, give the music time to unfold and, especially in Glass’s operas, uncover sonic gems.

In the Napa Opera House on Feb. 19, Glass played a 90-minute recital of his music at the piano. A full house of 500 greeted the composer, who announced the works from the stage. Beginning with “Mad Rush,” a 14-minute work from 1979 dedicated to the Dali Lama, it became quickly apparent that Glass is not a virtuoso pianist. The repetitive figures were seldom played evenly, especially in the right hand, and given that so much of his music is in the upper registers, he has a surprisingly pallid tonal palette. He does, however, know how to phrase his works with adroit care, and he moved easily to three of the “Metamorphosis” pieces from around 1980 that became part of the scores for the movies The Hours and The Thin Blue Line.

In these richly hued discourses, and in eight of the “Twenty Etudes for Piano” (four are still to be written), Glass captivated listeners with his convoluted and sonorous sonic fabric, all played with long stretches of full damper pedal, sporadic shift pedal and a rainbow of sound. He constantly used two pianistic tools: hand crossings and pedal point. There were also frequent deceptive cadences that tended to prolong the already lengthy exposition of the Etudes beyond (at least) my attention level. Several times Glass forgot where he was in a piece and wandered about until a phrase reoccurred that he could latch onto. These wanderings didn’t matter to the audience, as music with so much repetitive structure just rolls on without much need to change. I heard Keith Jarrett’s pianism and Glass’s own Satyagraha in the playing.

The concert closed with “A Night on the Balcony,” written in 1991 and inspired by Jean Genet’s play The Screens, a depiction of the French occupation of Algiers. Here the long lines were punctuated by sforzandos in the left hand and more melodic interest than the preceding pieces. I found the piece entrancing and not at all soporific.

The single encore was from the 1981 “Glassworks,” titled appropriately “Opening and Closing.” It was more of the warmly-shaped arpeggios and repeated chords in both hands, effective and kaleidoscopic.

The concert was far from the usual piano recital. It was not only memorable, but also, as the composer was the performer, instructive.

Santa Rosa music explorer Dr. Victor Spear contributed to this review.