Violinist Doori Ma

HEADY MELANGE OF MUSIC AT PIANOSONOMA FESTIVAL OPENER

PianoSonoma, the perennial summer visitor to Sonoma State’s Schroeder Hall, launched its tenth season of four concerts July 16 with a tasty program mix of mostly contemporary works.

In these programs novel repertoire and presentation are de rigueur, and oddly Bach’s Chaconne (BWV 1004) for Violin in D Minor opened the program. The monumental Chaconne as an opener! In over 14 minutes Doori Na mounted a straightforward interpretation, unromantic and in quick tempo with the fast scales distinct and sonic emphasis in the high register. No surprises here, and though a few notes got away from Mr. Na, the seminal movement from the D Minor Partita was played splendidly.

Thomas Adès’ Blanca Variations were heard in what was probably a North Coast debut, in the capable pianism of Gabrielle Chou that featured lovely tone colors and resonant high register chords over bass rumbling.

Ms. Chou returned to the stage with a violin and her colleagues cellist Michael Dahlberg and pianist Christine Wu for the opening movement of Reena Esmail’s 2019 Piano Trio. Violin and piano technique in a single accomplished musician! The piano part has many minimalist repeated figures and ostinato over string shimmer and the overall sound reminded of Steve Reich similar compositions (e g., Music for 18 Musicians) and a whiff of John Adams. Intense in its own way.

Cello sound and plucked strings were especially strong, the many subtle contrasting lines clear and the six-minute performance received loud applause.

Pianist Sasha Kasman Laude played with score Brad Mehldau’s After Bach: “Flux”, a wandering eight minute composition that was full of off-beat humor, beguiling in the playing and mostly consonant in harmony. Ms. Laude’s playing took several short motives and melded them into a long line, teasing a little at phrase ends. There were tangible references to Shostakovich’s Op. 87 Preludes and Fugues, a masterpiece that Ms. Laude presumably has encountered. She played many motives in a circular pattern, highlighting a faux Bach style and it worked well. Impressive.

Flux was followed by trumpeter Riley Mulherkar's Chicken Coop Blues, Peter Dugan's Ives-linked The Question Remains and Duke Ellington's The Shepherd. The last was originally written for trumpet, small orchestra and piano, and here Mr. Dugan pounded the house piano louder than any Green Music Center performance in memory since Garrick Ohlsson played Liszt's Weinen Klagen Sorgan Zagen Variations in Weill Hall.