Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
PENULTIMATE VOM FESTIVAL CONCERT FEATURES GORGEOUS VOCALISM
by Pamela Hicks Gailey
Thursday, July 29, 2021
The 2021 Valley of the Moon Music Festival continued on July 29 with a sumptuous online offering of French songs, concluding with the second piano quartet by Fauré, Op. 45. Such a beautiful bouquet of video performances wonderfully filmed and recorded softened the disappointment of not being able to
Other
SIX GUITARISTS IN UNIQUE NAPA RECITAL
by Gary Digman
Sunday, July 25, 2021
The first Napa Valley Guitar Festival was held at Napa’s First Presbyterian Church July 25, and featured performances from six classical guitarists. The Church is an iconic structure in downtown Napa, its huge white presence dominating the scene, and the white theme continues inside punctuated by be
Chamber
BOGAS' TENURE ENDS IN OUTDOOR GUALALA CHAMBER CONCERT
by Iris Lorenzfife
Sunday, July 25, 2021
The preconcert call that music lovers should gather at Gualala Arts July 25 to attend the final Roy Bogas and Friends Concert was not quite as dire as it sounded. It seems that a year of Covid 19 and an 88th birthday had combined to convince Mr. Bogas that he was working too hard. But with cellist P
Chamber
CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
Chamber
RARE LANG SONGS SPARKLE AT VOM FESTIVAL VIDEO RECITAL
by Pamela Hicks Gailey
Wednesday, July 21, 2021
Unexpected pleasures are often the best. Valley of the Moon Chamber Festival presented a such a pleasure last week-a July 21 recorded performance by tenor Kyle Stegall and pianist Eric Zivian in another mini-recital (very mini-just 15 minutes!) of six songs by the nineteenth century German composer
Chamber
EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
RECITAL REVIEW
Concerts Grand / Sunday, November 15, 2009
Richard Cionco, Pianist

Pianist Richard Cionco in Newman

HAVE PIANO, WILL TRAVEL

by Terry McNeill
Sunday, November 15, 2009

Sacramento State’s Richard Cionco followed a string of CSU faculty pianists into the Concerts Grand recital series Nov. 15, playing a concert that featured eclectic music rarely heard in the North Bay. Mr. Cionco’s breezy stage presence and audience repartee belied the complexity of the music, and he consistently delivered the goods to a small group in SRJC’s Newman Auditorium

The cornerstone of the recital was the 28-minute “American Variations” by New York composer Sunny Knable, in its North Bay premiere. Comprising at least 16 individual sections with such picturesque titles as “Scherzo Sarcastigue” and “Old Cotton Picker,” the work requires a formidable finger technique with numerous hand crossings, violent sforzandos and even a sporadic tone cluster. The theme, with echoes of Foster, Gottschalk and Copland, was surprisingly composed Mr. Knable himself. Using sheet music, Mr. Cionco met all the demands with aplomb, the concluding “Jig” ripping up and down the keyboard to everyone’s delight. And clearly the performer was pleased, with many loud “bravos” underscoring his accomplishment.

Prior to his triumph with Knable, Mr. Cionco opened with the four-part Villa Lobos Bachiana Brasiliera, No. 4, part of a suite of nine works composed between 1930 and 1942 and fusing Brazilian popular music with the styles of Bach. In Mr. Cionco’s hands the improvisatory element was stressed, but in no way suppressing the often raucous nature of Preludio or the concluding Danza.

The short second half began with the stark and compact “Sancta Dorothea” (S. 187) of Liszt. Written nine years before Liszt died, the work combines religious asceticism and palpable humility. Mr. Cionco chose a tempo far faster than other pianists (albeit few) adopt, stressing the elegant melody with rippling left-hand triplet figures. The brevity prevented pondering the sweet lyricism, and perhaps a small bit of the late Liszt “resignation” was lost in the interpretation.

Not so for three of Chopin’s noble Mazurkas. The A Minor, Op. 17, No. 4, a Horowitz favorite, was played sublimely and caught the wistful nature behind nearly all of the Mazurkas, irrespective of the sometime strident rhythms. Op. 24, No. 2 followed, and the final Mazurka from Op. 33 (No. 2) had the requisite rustic flavor and a deft portrayal of the strong character and simple harmony. There is joy tinged with Polish sadness in the Mazurkas. Mr. Cionco addressed each with pianist mastery and an approach that made them sound fresh.

The popular “Danzas Argentinas” (Op. 2) of Ginastera concluded the program, preceded by illuminating remarks from the pianist. It was the third performance of the 1937 composition in the last two years for Concerts Grand, and probably the most successful, especially with the bookends “Danza del Viejo boyero” and “Danza del gaucho matrero.” Here the control was complete, virtuosic and, in the final dance, menacing. The middle movement “Danza de la moza donosa” was languorous and fetching.

Mr. Cionco offered one encore, a Rachmaninoff “Moment Musicaux” in E Flat from Op. 16.

The reviewer is the Producer of the Concerts Grand recitals. H. G. Jim Burns contributed to the review.