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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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.