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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
Elena Kuschnerova / Sunday, March 01, 2009
Elena Kuschnerova, Pianist

Elena Kuschnerova at the Newman Auditorium Piano

FROM RUSSIA WITH LOVE

by Terry McNeill
Sunday, March 01, 2009

People attending pianist Elena Kuschnerova’s March 1 Newman Auditorium concert came with anticipation of a challenging afternoon, as the Russian’s presence on YouTube and a comprehensive website disclosed a wide range of repertoire and powerful command of the instrument. I don’t believe anyone was disappointed.

Part of the Concerts Grand series, the recital’s first section was all German, appropriate as Kuschnerova lives in Baden Baden, and it’s the 200th anniversary of the birth of Felix Mendelssohn. The Variations Serieuses, Op. 54, and three of the Songs Without Words were performed with richly contrasting textures and a long lyrical line. The songs (May Breezes, Lost Illusions, and Spinning Song) received warm readings with a delicate touch and sprightly agility. The variations were played with consummate pianistic skill, notably the fugal (No. 10) and the following Schumannesque (No. 11). Everything was in place with technical dash, the descending left-hand figurations in the 15th variation resounding deep into the bass. Mendelssohn never wrote a better work for piano, and Kuschnerova gave a grand reading.

Bach’s Second French Suite began the program. Kuschnerova played it in a carefully measured way, the architectural backbone surrounded by sparkles of notes, all held together by clear delineation of each of the voices. The fast Corrente was deftly played and the two-voice Gigue’s dotted notes received an attentive performance in decorous Baroque style.

Kuschnerova chose only Russian composers for the second half, running a chronological gamut from the first great one (Glinka) to the controversial Alexander Lokshin (1920-1987). Glinka’s lovely short Nocturne La Separation mirrors Field’s works of the same title, less complex and deep than Chopin’s oeuvre, but no less lyrical. Tchaikovsky’s Variations on an Original Theme, Op. 19, followed, and its 16-measure theme was nobly stated. The quirky third variation was brilliantly played, the alla mazurka ninth danced provocatively, and the conclusions of the fleet coda brought down the house.

The pianist preceded Alexander Lokshin’s In The Spring and Prelude and Theme with Variations with an extended summary from the stage of Lokshin’s tragic life under Soviet rule. Kuschnerova knew the composer, and her sympathy with his plight was palpable. In the Spring, a poetic 45-bar bagatelle, was lovely, and the variations were sharply dissonant and assured. A good number of the 85 in the audience stood to applaud, a novel demonstration for an unknown composer’s work, and certainly a tribute to Kuschnerova’s passionate advocacy. Lokshin’s music has had few champions, the conductor Rudolph Barshai now being joined by Kuschnerova in heralding a Soviet-era master.

Closing a memorable concert was the tumult of Stravinsky’s Trois Mouvements de Petrouchka, virtuoso paraphrases of three scenes from the famous ballet of 1920. This polytonal transcription ranks with a handful of piano works (e. g., Liszt’s Tannhauser Overture, Balakirev’s Islamey, and Ives’ Concord Sonata) as the most difficult to play on the modern piano. Kuschnerova, who was not well during the entire recital, rose to the pyrotechnical demands of the Danse Russe and La Semaine Grasse magnificently. She seemed to tire towards the end, losing small details in the volleys of forte octaves, march-like chords and incessant bravura.

Three encores were offered, the best being another Mendelssohn song (Passion) and Siloti’s transcription of the Bach Prelude in B Minor. The latter was a richly colored example of captivating legato playing.

Elena Kuschnerova communicated in a personal way with her Newman audience, serving the composers she chose to perform and exemplifying the majesty of the great Russian romantic piano tradition.

Marin pianist Ken Iisaka contributed to this review.