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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
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
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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
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

Pianist Garrick Ohlsson In Napa Recital Dec. 16

OHLSSON TRIUMPHANT IN NAPA BEETHOVEN BIRTHDAY SONATA RECITAL

by Terry McNeill
Thursday, December 16, 2010

Virtuoso pianist Garrick Ohlsson is clearly at the top of his game, the latest evidence being a blockbuster Beethoven Sonata recital Dec. 16 in Napa’s United Methodist Church.

Celebrating the Bonn’s master’s 240th birthday and coming off a project recording all 32 Sonatas, Mr. Ohlsson met a jammed Chamber Music in Napa Valley audience with a balanced program featuring the familiar, not so familiar and rarely played. Many in the audience of 300 have heard the artist numerous times in the series, produced by wine moguls John and Maggie Kongsgaard, and greeted his entrance to the acoustically dead hall for the D Minor Sonata, Op. 31, No. 2 (Tempest), with loud applause.

The opening Allegro is storm and stress, and Mr. Ohlsson quickly disclosed a recital-long interest in instrumental color and contrast. He used the shift pedal a lot, getting hazy tints in the two recitatives and handling the tricky two-note slurs with ease. There was strong thematic projection in the Adagio and long sustained tones in the treble, carefully pedaled. In the agitated finale, the artist underscored its softly wistful nature, and the playing of the persistent four-note motive was never mechanical. The play of the registers with no ritards to the final pianissimo left-hand was masterful.

Before intermission the seldom programmed E Flat Sonata, Op., 27, No. 1, was for me the highlight of the recital. It’s not popular with audiences, and the four-movement work in unsympathetic hands can seem dense. Here the pianist set out the simple opening with firm rhythmic control, the last two chords haunting and leading subtly attaca subito to the Adagio. The pianist several times gave a little extra duration to the fermatas, adding to the expectation of the concluding rondo, interrupted near the end to reintroduce the melody of the slow introduction. Mr. Ohlsson made a strong case for the lyric building blocks of the piece, some parts sounding fugal but always in judicious balance. Obviously he has given this work countless hours of study in the studio.

From 1809, the F Sharp Sonata (Op. 78) opened the second half with unaffected directness, Mr. Ohlsson’s exact chordal weighting a delight to hear. His technique cannot abide phrases without sonorous chords and precisely equal inflection in both hands. The usual graceful caprice of Allegro Vivace was played here almost raucously, the left hand crossing to trenchant treble accents.

In recent years an approach to the concluding F Minor Sonata, Op. 57 (Appassionata) has arisen that stresses the great work’s architectural design and interlocking segments over the conventional dramatic qualities. Readings by Till Fellner and Andras Schiff come to mind. Earlier this season Sandro Russo on the Concerts Grand series would have none of this, grabbing for the emotional nucleus, and Mr. Ohlsson’s performance followed suit, taking no prisoners. The quiet opening turned volcanic with the evening’s first really big forte sound, the potent F Minor key resounding to the last row in the lovely church. There were a few surprising inner voices in the first movement, surprising in that the Appassionata isn’t a piece for wayward experiments in interpretative individuality. It’s a work that the artist exploited with a lovely detaché touch and finger staccato in the short variation movement, Beethoven’s chaste melody uppermost. Mr. Ohlsson always emphasizes the essentials in his conceptions, leaving the inessentials to subsidiary lines and occasional appearances.

A ferocious arpeggiated chord, carried with the pedal from the previous measure, announced the 13 titanic chords that launched the tremendous sweep of the Allegro ma non troppo. There was never any pounding, regardless of the tsunami of sound the pianist wrung from the instrument. But the contrasts in low-volume playing were also never absent, the four right-hand chords over the midpoint pedal point c a telling break to the music’s grandeur. The last section in Presto was compelling, the artist never losing control and never giving a thought to underplaying the excitement.

Of course a thunderous standing ovation followed, and there was palpable curiosity on what encore(s) might be offered. A late Beethoven Bagatelle? The frisky “Rage Over A Lost Penny”? Mr. Ohlsson’s patrician side then emerged when he played a nuanced middle movement (Andante cantabile) from the Pathétique Sonata in C Minor. Here his rock-solid rhythmic sense never left him, nor in the following “Revolutionary” Study of Chopin, Op. 10, No. 12.

In this year of Chopin’s 200th birth, Garrick Ohlsson has been playing mostly the Pole’s immortal music, but if one asked the Napa audience Thursday night, the verdict would be to have this formidable pianist, at an exalted stage of his youthful career, to program Beethoven Sonatas forever.