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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 8, 2008
RAFAL BLECHACZ, CONCERT PIANIST

Rafael Blechacz

CHOPIN WINNER WOWS THEM IN OAKMONT

by Terry McNeill
Thursday, May 8, 2008

The young Polish pianist Rafael Blechacz arrived May 8 at the Oakmont Concerts Series with quite a bit of musical baggage, including winning the 2005 Chopin Competition (the same competition that launched Garrick Ohlsson's career in 1974) and playing on several ubiquitous You Tube snippets. He was touring the Bay Area, and his debut here was eagerly anticipated by a large crowd, including many pianists, in Berger Auditorium.

Blechacz didn't disappoint with his initial offering, Mozart's D-Major Sonata, K. 311. His command of fluid scale passages served the work well, as did his ability to put a little 'air' between the notes, establishing clarity as well as speed. He chose fast tempi and minimal pedal for both the opening allegro con spirito and the concluding rondeau. His hands were admirably balanced, and his dynamic control was exceptional. Clearly he has had excellent teachers. Unfortunately, several notes in the upper tenor and treble of the house piano went quickly out of tune, and continued so throughout the recital.

Debussy's Estampes followed, and was delivered effectively, if at times a little blandly. The three works in this collection are coloristic journeys into rich impressionism, and Blechacz presented them without showing any natural affinity for the Frenchman's often diaphanous and subtle music. Nonetheless, they were played with sonorous attention to detail, and received loud applause.

The first half ended with Szymanowski's early B-Flat Minor Variations, Op. 3, which received a passionate reading. Written just after 1900, this work has a noble theme and 12 disparate variations. Blechacz played them with ardor and masterly comprehension.

Chopin's 24 Preludes, Op. 28, comprised the second half of the concert. Blechacz's pianism here was of considerable authority but finally a little underwhelming. This trait seems odd for a competition winner, as the norm is for barnstorming, virtuosic playing to impress jurors and audiences alike. But Blechacz offered a more restrained approach to this intricate work, never getting a resounding fortissimo from the piano, often cutting off fermatas, never prolonging pedal points, and even underplaying the fleeting 16th and 22nd preludes. It's certainly a valid approach to this magnificent music, but a more heroic and large-scale interpretation seems preferable. Blechacz is young, however, and the Preludes should hold infinite possibilities for his future interest. Profound music demands a lifetime of artistic thought.

Responding to loud acclaim, he offered one encore, a scintillating Chopin waltz. Here in six minutes all the best of Mr. Blechacz's art was present: sovereign control, a chaste tone, perfectly etched scales and sculpted phrases of great beauty.