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DINOVA PIANISM CHARMS SATED AUDIENCE AT J-B MARIN RECITAL
by Terry McNeill
Sunday, November 20, 2022
Symphony
SHOSTAKOVICH 5TH A TRIUMPH FOR SSU ORCHESTRA
by Terry McNeill
Saturday, November 19, 2022
Recital
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by Terry McNeill
Sunday, November 13, 2022
Symphony
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by Terry McNeill
Saturday, November 12, 2022
Chamber
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by Terry McNeill
Friday, November 11, 2022
Symphony
SANTA ROSA SYMPHONY STOMPS ALONG TO MARSALIS VIOLIN CONCERTO
by Steve Osborn
Sunday, November 6, 2022
Choral and Vocal
TRAVELS WITH SEBASTIAN IN SONOMA BACH'S OPENER IN SCHROEDER
by Pamela Hicks Gailey
Saturday, October 29, 2022
Symphony
ORCHESTRAL SPLENDOR IN MARIN SYMPHONY'S SEASON OPENER
by Abby Wasserman
Saturday, October 15, 2022
Choral and Vocal
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by Pamela Hicks Galley
Sunday, October 9, 2022
Chamber
DRAMATIC SHOSTAKOVICH SONATA HIGHLIGHTS BOSCO-GABRIELSON CONCERT
by Terry McNeill
Sunday, October 9, 2022
RECITAL REVIEW

Pianist Einav Yarden

PIANISM OF SUBSTANCE AND CONTROL

by Terry McNeill
Thursday, October 16, 2014

Israeli pianist Einav Yarden has had several past Sonoma County appearances, but her Oct. 16 Music at Oakmont recital exhibited a new and attractive level of resolute programming, instrumental mastery and impressive musicianship.

She played three substantial works, including the opening Second English Suite of Bach (BWV 807), which was in many ways the most memorable. The Prelude was lively but never too fast, allowing clarity in the mainly two-voiced contrapuntal lines, and leading smoothly into the stately Allemande and a Courante of rhythmic complexity.

Ms. Yarden used minimal damper pedal throughout, enhancing a chaste pianissimo touch in the expressive Sarabande and providing lucidity in the concluding Gigue. There isnít much dynamic contrast in the two Bourrťes and in the da capo part of the Gigue, but itís a low-temperature work that mated well with the artistís interpretation and mood.

Closing the first half was Ravelís popular "Valses Nobles et Sentimentales," a series of eight connected pieces that range from a forceful opening to a delicate closing waltz recapitulation. The playing of each captured ample mystery and chordal structure, especially in the Assez lent and Assez animť waltzes. It was thoughtful and at times pensive playing in a work that in lesser hands can sound raucous.

Occupying the entire second half was the monumental Schubert G Major Sonata, D. 894, one of the composerís four last sonatas. It took courage to program in Oakmont a restrained work that can take close to 45 minutes to play, with extended themes and long repetitions. But itís a heavenly length and as in the Bach, the pianist opted for judicious tempos throughout. She brought the long crescendo in the first movementís development section to a firm but not loud climax, and contrasted it with the rest of the movementís lyrical serenity. In fact the entire recital didnít have any fortissimo playing, the music instead demanding the artistís careful chordal weighting and rhythmic control. The lovely motive where the left hand plays legato single notes against short right-hand figurations was captivatingly played, each of the six times being slightly different.

The Minuetto-Allegretto was appropriately played in a dance-like manner and the finale (Allegretto) was spacious and convincing. Itís a difficult work to sustain and Ms. Yardenís approach to each work in the recital had to be taken on its own terms. I found all of the playing compelling. There was no encore.

One hundred and fifty attended the recital in Berger Auditorium, which has a continuously noisy HVAC system.