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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
RECITAL REVIEW

Daniel Glover on San Rafael's J-B Piano Stage April 3

UNCONVENTIONAL REPERTOIRE FEATURED IN DANIEL GLOVER'S SAN RAFAEL PIANO RECITAL

by Terry McNeill
Sunday, April 3, 2011

San Francisco’s Daniel Glover arguably plays more concerts than any classical pianist residing in Northern California, and his wide repertoire of concertos and solo works are the envy of many musicians. San Rafael’s J-B Piano Emporium was fortunate to host Mr. Glover’s artistry April 3 and 35 music lovers heard an uncompromising program short on familiarity but long on intriguing music.

In the long awaited final recital of the eighth Concerts Grand season, Mr. Glover cast down a provocative gauntlet by beginning with Bartok’s Piano Suite, Op. 14, a four-movement piece that quickly wakes up indolent hearing. The first three sections are pointillist and at times a brash jester appears, finally giving way with the pianist’s touch to a leisurely conclusion and an inconclusive and dissonant halt.

Mr. Glover’s pianism is not at first hearing easy to embrace. He is not a colorist, shuns swooning rubatos and is far more the architect than the poet. These characteristics were apparent in his tackling of Tchaikovsky’s big Sonata in G Major, Op. 37, a work rarely played due to its encompassing scope and often hammering repetition of phrases. The last local public performance I can recall, in a great 1982 Davies Hall recital, was from the mercurial Shura Cherkassky. Mr. Glover is never mercurial, his interpretations being the result of conscientious thought, extended finger work in the studio and his innate curiosity. The bold proclamations of the opening march were perfectly captured in the pianist’s propulsive playing, Tchaikovsky’s debt to Schumann’s early piano music everywhere apparent. The Andante non troppo was chastely played, the lacy long arpeggios were both marcato and cantabile as indicated in the score. The pianist played this movement, as in the entire afternoon, without score. The repeated sixths cords at the end were softly beautiful.

Concluding the Sonata were a bight Scherzo, abetted by the unique treble timbre of the J-B stage piano, and a fast and bravura tour of the finale. This section reflects the declamatory character of the opening movement with syncopated chords and dashing runs in both hands, and Mr. Glover gave his fingers (and feet) full rein. In this last movement there was more playing of a vocal character but an absence of voice leading, an approach that would have lent breathing space to the headlong journey to the coda, preceded by nine clangorous chords in sforzando. Mr. Glover had his arms around this thorny piece and made a strong case for it, albeit with palpable apprehension in the audience. Perhaps an acquired taste for the assembly?

Following intermission Kodaly’s arcane 1907 Méditation sur un Motif de Claude Debussy was played, a richly impressionist work that sounded as if the pianist was improvising. It followed intriguing harmonic paths and Mr. Glover lavished loving care in the details, especially in the ruminative soft notes deep in the bass. A highlight of the afternoon and a rarified work for most in the hall.

Three reasonably familiar Liszt works were played, the first two from Volume One of the Années de Pèlerinage and one, Harmonies Du Soir, from the Transcendental Etudes of 1851 (revised version). Mr. Glover favored left-hand clarity in Au Lac du Wallenstadt and washes of sound in the Au Bord d’une Source. Both were admirable interpretations, convincingly slow in the first and lacking the last bit of charm and prismatic color in the second. The Etude, the 11th of 12 daunting studies, received a formidable performance. Mr. Glover’s running left-hand chords at forte carried throughout the hall and his deft control of soft passages was telling. Here and there sonic smudges appeared in the broken chords and the pianist wasn’t note perfect, but “Evening Harmonies” needs the shimmering repose that it received.

The formal recital ended with two rarely-played Liapunov works, Berceuse and Lesghinka. Both are from an Op. 11 set of Etudes d’exécution transcedante, the Berceuse airy and lyrical and disclosing playing from Mr. Glover removed from the presentation of previous compositions. In introductory remarks to the Lesghinka the pianist alluded to a comparison with Balakirev’s famously virtuosic Islamey and highlighted the Russian folk music derivation and how devilish the piece is to bring off in a live performance. He solidly nailed it, sparks flying with an arsenal of octaves, skips and rapid scales. It was Islamey “light” and compelling.

Two encores were offered, both surprising to the small throng that had previously heard mostly muscular music. Gershwin’s Second Prelude in C-Sharp Minor was followed by an early 1921 Copland work, “Jazzy” from the “Three Moods.” Both received a subtle “hip swinging” performance from Mr. Glover, his rhythms both intoxicating and languorous and his identification with the jazz elements persuasive.

A season-ending Champagne reception followed with ample time for the audience to play the store’s instruments and exchange commentary with an artist that treats every aspect of musical performance as a quest for honesty and esthetic truth.

The reviewer is the producer for the Concerts Grand series.