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Chamber
SPARKLING WIND, STRING, HARP MUSIC AT DEVON HOUSE GARDEN CONCERT
by Abby Wasserman
Saturday, October 9, 2021
Take a mild autumn evening, a garden gazebo with patterned rugs and lit with soft bulbs, shake in a fine chamber ensemble, add a rising new moon, and you have a recipe for the musical delight that violist Elizabeth Prior presented Oct. 9 in her Devon House Garden Concert series. The Marin Terra Li
Recital
AUTHORITATIVE BEETHOVEN SONATA IN KLEIN'S OCCIDENTAL RECITAL
by Terry McNeill
Friday, October 8, 2021
People attending the first Redwood Arts Council Occidental concert in 20 months found a surprise – a luxurious new lobby attached to the Performing Arts Center. It was a welcome bonus to a recital given by pianist Andreas Klein where the music seemed almost as familiar as was the long shuttered hal
Symphony
MOVIE MUSIC ON THE WINDSOR GREEN IN SO CO PHIL SEASON OPENER
by Terry McNeill
Sunday, October 3, 2021
People approaching the Windsor Green bandstand Oct. 3 for the Sonoma County Philharmonic’s season opening concert had some cause for concern. After 18 months of silence would the all-volunteer orchestra have enough musicians for a big movie music program? After all, performers can move, retire, or
Symphony
SANTA ROSA SYMPHONY RETURNS IN TRIUMPH
by Steve Osborn
Sunday, October 3, 2021
It is often the case that a single piece or performer steals the show at a symphony concert, but at the Oct. 3 performance of the Santa Rosa Symphony, the show itself stole the show. The concert opened with a serene 1982 tone poem by Libby Larsen, followed by a masterful performance by soloist Julia
Symphony
TWO WIND SOLOISTS CHARM AT SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, September 26, 2021
The house of music has many rooms. That dusty adage was never truer than when Weill Hall Sept. 25 hosted a roaring New Orleans-style musical party, and less than a day later a mostly sedate Sonoma State University student orchestra performance. Before a crowd of 200 conductor Alexander Kahn led a
Other
CLEARY'S NEW ORLEANS BAND IGNITES PARTY FOR THE GREEN AT SSU
by Terry McNeill
Saturday, September 25, 2021
A dramatic and unique start to the new Green Music’s Center’ 2021-2022 season exploded in a “Party for the Green” Sept. 25, a New Orleans (NO) style commotion featuring Jon Cleary and his Absolute Monster Gentlemen band, inside and outside of Weill Hall. Beginning with a private gourmet dinner in t
GAULIST FLAVOR IN FINAL SF PIANO FESTIVAL CONCERT AT OLD FIRST
by Terry McNeill
Sunday, August 29, 2021
Final summer music festival programs are often a mix of what has come before, with the theme and even a featured composer taking a last stage appearance, with a dramatic wrap up composition. San Francisco’s International Piano Festival defied the norm August 29 with an eclectic French-flavored prog
SPARE DUO PRECEDES MYSTEROUS DUO AT DEN BOER RECITAL
by Terry McNeill
Friday, August 27, 2021
In a departure from usual summer festival fare Julia Den Boer played an August 27 virtual recital in the San Francisco Piano Festival’s 4.5 season with four works, all mostly quiet but all in separate ways insistently demanding of artist and listener. Throughout the 40 minutes there was nary a powe
HARMONIC COMPLEXITY IN PHILLIPS' ALL-GRIFFES RECITAL
by Terry McNeill
Friday, August 20, 2021
Charles Griffes’ piano music is similar to that of Busoni, Reger and even Poulenc, in that there is a sporadic flourish of interest with concerts and scholarly work, then a quick fade into another long period of obscurity. So, it was a delight to have an all-Griffes recital August 20 on the San F
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
CHAMBER REVIEW
Oakmont Concert Series / Thursday, May 14, 2009
GILA GOLDSTEIN, CONCERT PIANIST

Israeli Pianist Gila Goldstein

GOLDSTEIN'S FINE PIANISM AT OAKMONT

by Terry McNeill
Thursday, May 14, 2009

Gila Goldstein isn’t a household name in North Bay music, but as a visiting virtuoso the New York resident has played here a lot: three recitals in San Francisco’s Old First Church series, another in a stately Marin hilltop home, one for Concerts Grand, and at least one Sonoma County home concert. May 14 found her at the Oakmont Concert Series’ Berger Auditorium, her third recital there, with a varied program of virtuoso works for the piano.

Goldstein, trained in her native Israel and at the Manhattan School of Music, offered a mixed bag from six composers in the first half, beginning with the big Bach Chaconne from the Second Violin Partita, in Busoni’s edition. As in the rest of the program, she took a measured approach to the massive work, leaving orchestral playing aside and concentrating on fine details, distinct lines and coloristic effects. Her scales were clean, and she judiciously traded the themes between her hands.

Liszt’s Sonetto Del Petrarca followed, again in a colorful but small-scaled reading, more reminiscent of Brendel than of Horowitz or Bolet. A lovely inner voice peeped through before the final thematic statement. A Nocturne by Respighi was next. The work has a beguiling shimmer with softly repeated right-hand alternating chords, and the surprise of two low-bass ending notes. Goldstein played it wonderfully, along with the following work, Debussy’s Poissons d’or. Her playing of Debussy’s overlapping tremolo figures was suitably impressionistic, as were the fluid arpeggios. Playing fast, delicate pianissimo passages is clearly difficult, but she handled them with aplomb.

Concluding the first half were Paul Ben-Haim’s Five Pieces for Piano, a Goldstein specialty. Each section alternates improvisational melodies and exciting rhythms. The ending Toccata is directly akin to Prokofiev’s Toccata and much of his Third Sonata (which Goldstein played here three years ago), and it was and equally effective under Goldstein’s fleet and accurate fingers. The Canzonetta was phrased in a way to delight any singer in the audience of 160.

The concert, the fifth in the 2009 season, had but one work in the second half, Schumann’s Davidsbundlertanze. Comprised of 18 short dances and other works from 1837, the cycle has never acquired the popularity of the composer’s other cyclic works: Carnaval, Humoresque, Kreisleriana and the Noveletten. The Davidsbundlertanze is a difficult piece for the listener, having considerable sectional beauty but lacking the dramatic contrast and march themes of the 22-part Carnaval. Goldstein lavished a great deal of beautiful pianism on the piece, playing repeats differently (a mark of the romantic pianist) and adding little phrase-ending ritards and telling off-beat accents. Her control of pianissimo and evocative tone color from the piano’s midsection were masterful. She has a lyrical gift and a deft touch well suited to this neglected but demanding work.

No encore was requested by the assembly, though more of the richly hued Schumann would have been a blessing. Also desirable would be a method of quieting Berger Auditorium’s air conditioning system. Its steady hum offered a less-than-joyful accompaniment to an afternoon of fine piano playing.