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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
Santa Rosa Junior College Chamber Concerts / Friday, November 22, 2013
Jean Efflam Bavouzet, piano

Pianist Jean-Efflam Bavouzet

GALLIC PERFECTION

by Terry McNeill
Friday, November 22, 2013

Jean-Efflam Bavouzet has made French piano music a principal part of his career, but his artistry extends to far more than Gallic masterpieces, as he convincingly demonstrated in a Nov. 22 recital for the SRJC Chamber Concerts series.

Before 180 in Newman Auditorium, Mr. Bavouzet opened with a sparkling reading of Beethoven’s "Waldstein" Sonata that featured sprightly tempos and precise articulation. The opening Allegro con Brio was so accurate that it could have been used for score dictation, and nary a nod was made toward romanticized rubato. Only the movement's humor was lacking, something Anton Nel underscored in his "Waldstein" last year in the same hall and series.

The following Adagio and Rondo finale were superbly played, the slow and quasi-introductory Adagio having just the right repose and the Rondo beginning in a dreamy wash of sound, becoming energetic as the music unfolded through the glissando octaves and an accelerated final section.

Ravel’s great 1908 "Gaspard de la Nuit" closed the first half. Here, as in the Debussy Preludes to come, Mr. Bavouzet was a peerless interpreter of his countryman’s music. Swirls of sound floated from the piano, and in the big bass sections, usually heavily emphasized, he instead underlined the harmonic beauty of the right-hand chords. The "Le Gibet" movement was played as a dirge over a menacing pedal point, and Mr. Bavouzet’s control of register balances was imposing.

In sweeping gestures and diabolerie, the closing "Scarbo" movement was a tour de force of terrific pianism, replete with sharp bass sforzandos, swift repeated notes and concentrated drama. A standing ovation ensued.

Debussy’s first seven Preludes (of 12) from his Book I followed intermission, each receiving playing of a unifying mood and character. Here the pianist’s consummate control or tone color and delicate phrase was on full display. Especially memorable were the imaginative tonal balances in "Les sons et les parfums tournent dans l’air du soir" and the lively and rhythmically playful "Les collines d’Anacapri." It was subtle and authoritative Debussy, lovingly presented.

There is no easy way to move from the pellucid impressionism of the Debussy Preludes to the Bartok Piano Sonata, so Mr. Bavouzet simply dove headlong into the Hungarian's three-movement virtuoso work from 1926. The composer’s longest solo piece for piano, the Sonata is tonal but dissonant throughout. The complicated embellishments and rhythms posed no problems for the pianist’s technique, and his careful pedaling (including sections when the damper pedal was not used) brought out snippets of folk tunes heretofore new to me. In the Allegro finale an effective toccata-like pace was adopted and gave a potent character to the trenchant neo-classical music.

If there was to be an encore, something sedate was called for, and Mr. Bavouzet responded to the applause with another delicate Debussy Prelude, "La fille aux cheveux de lin." He played it with sensitive legato, a wonderful ending to a provocative and nearly faultless recital.