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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, September 10, 2009
OLGA VINOKUR, CONCERT PIANIST

Pianist Olga Vinokur

VINOKUR SHINES IN ALL-RUSSIAN PROGRAM AT OAKMONT

by Terry McNeill
Thursday, September 10, 2009

Planning and performing an All-Russian program is not a hard task as long as a solo pianist is the executant. The Slavic keyboard literature, even excluding the 19th Century, is vast, and Russian expatriate Olga Vinokur dipped into the works of five notable Russians in her Sept. 10 Oakmont Concert Series recital. Ms. Vinokur, a New York resident by way of early years in Russia and studies in Israel, gave a committed but largely low-key concert for 200 attendees in Berger Auditorium.

Beginning with Shostakovich’s first numbered composition, the 3 Fantastic Dances from 1922, Ms. Vinokur established a pattern that would continue throughout the recital – earnest attention to detail, carefully balanced voicing between the hands and a deft pianissimo touch. The Dances were forgettable curiosities and an odd selection, considering the greatness of the composer’s Op. 87 Preludes and Fugues, but there was fleeting charm for all, and in the second piece the pesky right-hand skips were effortlessly played.

Ten Scriabin Preludes came next, mostly from the Op. 11 set (of 24), but introduced by the haunting Prelude in C-Sharp Minor (for the left hand) from Op. 9. In all these the specter of Chopin looms large, and Ms. Vinokur was content to underplay, looking for subtle contrast and avoiding a big sound. Repose in these works is welcome, but more rhythmic flexibility was needed in the wistful A Minor and dreamy D Major preludes. Ms. Vinokur played the entire set well, but at times the phrasing was predictable, removed from the masterful Scriabin of Sofronitzky and Shura Cherkassky. Two Scriabin studies followed, the Op. 2, No. 1, the most memorable of the pair, and long a Horowitz favorite. Perhaps Scriabin’s most popular work, the D-Sharp Minor Etude from Op. 8 (in the original version) received a routine performance missing the demonic force that caused dancer Isadora Duncan to say that the Etude was the “agony of the Russian people.”

Medtner wrote three volumes of Forgotten Melodies, and the pianist played just one, a Canzona Matinata from Op. 39. The runs were half-pedaled, the nostalgia of the work carefully unfolding. Medtner never gets enough performances, and this one had a simple enchantment.

The first half ended with Prokofiev’s short Third Sonata, Op. 28, a work last played in Oakmont by pianist Gila Goldstein. Here Ms. Vinokur struggled a bit technically, her beguiling soft playing unable to offset the lack of the requisite left-hand fortes and the intrusion of several quick memory lapses. The bravura and rhythmic drive were present, but not quite in the amount needed to carry the piece.

The second part was all Rachmaninoff, comprising the Six Moments Musicaux, Op. 16, and a transcription of Kreisler’s violin bagatelle Liebeslied. The Op. 16 works are early, from 1896, and are brilliantly written salon works in a late-Romantic style. For me they lack the interest and compact textures of the more famous Op. 23 Preludes, and under Ms. Vinokur’s fingers made a mixed impression. In some, especially in the rhetorical B-Flat Minor and the barcarolle-like D-Flat Major, she caught the ruminating character of the works, too similar to Scriabin, and her legato scales shimmered. In pieces that had vast swirls of notes, as the composer often writes, the playing became muddy, and in the second piece she was briefly lost. It’s easy to do that with so much florid pianistic decoration. The rhythmic patterns of the final C Major “Moment” were brought out well, presaging the same model for the later B-Flat Prelude of Op. 23.

The Liebeslied, the first of a pair of reworkings from the composer’s colleague Fritz Kreisler, was played with charm and rhythmic vitality, if not the last ounce of virtuosity.

One encore was offered, a Scarlatti sonata, performed with fleet panache. It was worlds removed from the sonorous harmonies from the Russians composers.