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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
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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
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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
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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
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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
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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 “
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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
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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
REVIEW

Pianist John Boyajy and Soprano Bryn Jimenez

SCHUBERT AND EXALTED MOZART IN NOVATO RECITAL

by Terry McNeill
Sunday, January 3, 2010

Marin pianist John Boyajy can’t be neutral about any important musical matter. He has passion and the ability to speak extensive words about that passion, and his excitement about Schubert, Bach and Mozart was everywhere in evidence in a duo recital with soprano Bryn Jimenez Jan. 3 in Novato’s All Saints Lutheran Church. Fifty-Five attended on a gloomy and cold day

Beginning with Schubert’s B-Flat Impromptu from Op. 142, Mr. Boyajy set the afternoon’s stage with a reading replete with chaste phrasing and balanced contrasts in the theme, five variations and coda. The non-professional church piano allowed a delicate treble pianissimo in the slow and dignified third variation but had a muddy bass section. Mr. Boyajy underscored the modulation leading to the final variation, his fast scales shimmering. The two chords of the coda were deftly played, the final one oddly broken.

Soprano Bryn Jimenez joined Mr. Boyajy in three Schubert songs to close the first half. Ms. Jimenez has a big and sometimes brash voice, not always suited to the nuance of Schubert lied, but possessing good German diction and ample drama. In “Ganymed” (D. 544) the long sustained notes were floated with care, and the piano’s ending resolution into the major was beautifully crafted. The “Gretchen at the Spinning Wheel” (D. 118) began with requisite rumbling repetitive piano chords, depicting the spinning process, and Ms. Jimenez’s vocal line flew effortlessly in the upper register. Here her lower staff richness became at times monochromatic, especially at high volume, but there was no lack of drama and pathos. The concluding “The Young Nun” (D. 828), a complex work from 1825 projecting an intense spiritual ecstasy, was sung with a beguiling mystery in the low voice and intrinsic histrionics. It was a gripping reading.

Bach’s C Minor Fantasia (S. 906) began the second half, in Mr. Boyajy’s capable hands. It’s a brilliant if short work, with large chromatic modulations. The pianist provided a performance that had aspects of Scarlatti’s sonatas, the turns and mordents directly stated and finger articulation and trills artfully executed.

Mozart’s solo motet “Exsultate Jubilate” (K. 165) closed the program and brought out the best singing of the afternoon. In the opening Allegro Ms. Jimenez chose a narrower vibrato than used in the Schubert songs, and Mr. Boyajy’s accompaniment was continuously forceful. The Larghetto begins with a recitative reminiscent of “The Marriage of Figaro” and was thoughtfully sung, the piano line subtlety played and modulating to the famous “alleluia” finale. Here Mozart asks a lot of the singer, the playful and happy text exploring a wide range of vocal color. Ms. Jimenez left nothing on the table, her powerful voice bringing the audience to its feet.

An encore was demanded and surprisingly Ms. Jimenez deferred to her partner, as Mr. Boyajy played Debussy’s “Doctor Gradus ad Parnassum” from the Children’s Corner Suite. The scales were fast and the legato balanced, perhaps the most virtuosic pianism of the concert.