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Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
CHAMBER REVIEW
SRJC Chamber Concerts / Friday, March 27, 2009
David Korevaar, pianist

Pianist David Korevaar

KOREVAAR BALANCES THE POPULAR WITH THE UNKNOWN

by Terry McNeill
Friday, March 27, 2009

Pianist David Korevaar brought a curiously unbalanced program to the Santa Rosa Junior College Chamber Series on March 27 for the SRJC season’s final event. Unbalanced because the first half consisted of essentially unknown works, whereas the second half consisted of Schubert’s most popular piano sonata.

Korevaar, who teaches at the University of Colorado, began his recital in the half-full Newman Auditorium with Brahms’s Variations on a Hungarian Song, Op. 21, No. 2. A master of the variation form, Brahms wrote two big Paganini and Handel sets that have challenged pianists since the 1860s, but the variations here are shorter and less inspired. Unlike the Handel Variations, which only begin to sound like Brahms at the second variation, the Hungarian variations bear all the marks of the German master in the very first variation, right after the statement of the theme. Though the variations are not a subtle work, Korevaar played them convincingly, with a strong bass line and careful development of the complex theme.

Erno Von Dohnanyi, a Hungarian virtuoso who ended his career in Florida, composed his Variations on a Hungarian Folk Song in 1916, and there are echoes of Liszt, Brahms and Rubinstein in his 10 variations in classical form. The sound of chimes permeates several variations. Korevaar’s reliable octave technique served the digital demands in the ninth variation, and the concluding slow arpeggios of the tenth shimmered with rich colors.

A work probably unknown to the entire audience, Castelnuovo-Tedesco’s Piedigrotta (1924), closed the first half. Set out in five widely different movements, played here often without break, Piedigrotta is a Neapolitan rhapsody that makes virtuosic demands but delivers a piquant musical story. Opening with a lively tarantella, the work turns quickly to a nocturnal aria with references to Albeniz’s Iberia. Korevaar controlled the repeated chord figurations and swift hand crossings with ease, making the whirling and impulsive “Calasciunate” dance section an exciting blur of sound. These pieces, although not dissonant, reflect the harmonic language of impressionism and are close to Griffes’s The Fountain of the Aqua Paola. A lovely descending glissando introduces the final movement, where rapid repeated notes and minor seconds generate a giddy, wild ride all over the keyboard. A novel and provocative piece, Piedigrotta was thrillingly rendered by Korevaar to loud applause.

Schubert’s last sonata, in B-Flat (D. 960), was written shortly before the composer’ death in 1828, and has been a staple of non-Slavic pianists since the acclaim from performances by Schnabel in the 1920s. It’s a long haul, and in Korevaar’s reading the four movements lasted just over 45 minutes, with the deep and melancholic opening Molto Moderato running more than 19 minutes alone. Korevaar used the shift pedal continuously in the first two movements, juxtaposing a generally aggressive attack in the dramatic sections with the ethereal and constantly modulating melodies. The big sforzandos had punch, but a jarring break in the deeply felt first-movement texture — three bars of raucous un-Schubertian chords — were a mysterious intercession.

The Andante sostenuto was beautifully played, evoking a haunting and certainly religious feeling, the left-hand figures even and at times mesmerizing. The Scherzo, so different than what came before, was played with a light touch and a balance of off-beat accents and cheery frolic. The closing Allegro man non troppo was dramatic and boldly played, more in the style of Serkin’s persistence than Alfred Brendel’s nobility.

No encores were offered.

All in all, Korevaar performed an estimable recital, ultimately balancing three unfamiliar works with an aristocratic reading of Schubert’s sovereign sonata.