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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
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
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
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
REVIEW

Pianist John Bayajy at his Pt. Reyes Recital March 27

SONOROUS BACH TRANSCRIPTION HIGHLIGHTS BOYAJY'S DANCE PALACE RECITAL

by Terry McNeill
Sunday, March 27, 2011

Marin Pianist John Boyajy’s concerts are never conventional. His usual mix of extended verbal introduction and musical performance can be unsettling if the balance isn’t right. In a Point Reyes Station recital at the Dance Palace March 27 all was in equilibrium, the music sparkling and the commentary persuasive and enlightening.

Before and audience of 90 on a wet and blustery afternoon the program began with Beethoven’s “Pastoral” Sonata in D, Op. 28, an innovative work from 1801. Playing from score as he did the entire concert, Mr. Boyajy choose judicious tempos coupled with an aggressive approach, his scale passages clear and rippling. In the long and convoluted Andante he caught the movement’s humor, and the Scherzo was engaging.

In the finale (Rondo) the pianist played the sweeping arpeggiated passages and syncopated rhythms with élan, the middle section forceful and sometimes a bit loud. The composer’s endless inventiveness led to several deceptive closing cadences and Mr. Boyajy held the music back at times, clarifying the bucolic nature with ample ritards at bars 123 and 192. In all, a muscular and well thought out interpretation.

Four Liszt works followed, the Soirées de Vienne No. 6 being added to the program and introduced in a theatrical but prescient analysis by the artist. The Sonetto Del Petrarca 104, from the second book of the Années de Pèlerinage, began the set with the pianist providing a muscular and declamatory reading. The left hand chordal playing was distinct and the romantic fervor of the work clearly conveyed. In several places small hesitations interrupted the musical line, not caught by the damper pedal.

Late in his life Liszt wrote four works with the title Valse Oubliée, and before intermission Mr. Boyajy selected the first. His pianism provided the necessary charm but the performance was not wholly successful, as the waltz needed a lighter touch in the fast sections.

The sixth Soirée came after intermission, one of nine transcriptions Liszt made of Schubert waltzes. These are “mit schlag” works and the sixth was a favorite of Rosenthal and Horowitz. Here Mr. Boyajy pushed the sound, his deft left hand never overplaying the “om pa pa” rhythms. Another piece from the Italian book of travels, Sposalizio, closed the Liszt group and was characterized by playing of high drama. The pianist favored drawn-out ritards and strongly accented eight bass notes, bringing the right hand into sharp relief. The forte passages were vehement and bordered at times in stridency, perhaps contributed to by the piano’s treble and the flat wood floor in the hall.

Bach’s Chaconne (BWV 1004), the concluding movement in the D Minor Sonata for solo violin, is a pinnacle of violin performance and has been transcribed by composers as disparate as Raff, Siloti, Brahms, Busoni, Hamelin and the conductor Leopold Stokowski. Mr. Boyajy has melded both the Busoni and Siloti versions into a 15-minute work of monumental power, albeit with several of his own additions, and the Pt. Reyes performance was presumably a premiere of sorts. For me it was the highlight of the afternoon, an odyssey of rich sound that in the upper reaches of the piano reflected certain registers of the organ. The pianist was in no hurry throughout, the slow running octave passages in both hands always pungent and the phrasing graceful. The recitative sections were played with welcome surcease to the orchestral sonorities, and here and there an inner voice was emphasized. Surprisingly, the massive final chord was followed with three decidedly unmassive single notes. Were these Mr. Boyajy’s benediction for the triumphant journey?

A standing ovation greeted the Chaconne’s singular accomplishment, but no encore was offered.