Choral and Vocal
CANTIAMO'S VIRTUOSO SINGING INSIDE AT ST. SEREPHIM'S CHURCH
by Pamela Hicks Gailey
Sunday, June 4, 2023
Symphony
TWIN PEAKS AND TWIN PIANOS AT THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, May 6, 2023
Symphony
ALASDAIR NEALE’S JUBILANT FAREWELL TO MARIN SYMPHONY
by Abby Wasserman
Saturday, April 22, 2023
Opera
SANTA ROSA'S MAJESTICAL MAGIC FLUTE IN WEILL
by Pamela Hicks Gailey
Saturday, April 15, 2023
Choral and Vocal
SPLENDID GOOD FRIDAY RUTTER REQUIEM AT CHURCH OF THE ROSES
by Pamela Hicks Gailey
Friday, April 7, 2023
Chamber
A JOURNEY THROUGH MUSICAL TIME
by Abby Wasserman
Sunday, April 2, 2023
Symphony
ORCHESTRA SHOWPIECES CLOSE SO CO PHIL'S SEASON
by Terry McNeill
Saturday, April 1, 2023
Symphony
FROM THE DANUBE TO PUERTO RICO
by Steve Osborn
Sunday, March 26, 2023
Chamber
SAKURA AND THE MUSICAL ART OF ARRANGEMENT
by Abby Wasserman
Sunday, March 12, 2023
Chamber
WEIGHTY RUSSIAN SONATAS IN MALOFEEV'S 222 GALLERY RECITAL
by Terry McNeill
Sunday, March 12, 2023
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 Pianist Spencer Meyer July 22 in Preston Hall |
MYER'S MENDO FESTIVAL RECITAL SPOTLIGHTS MOZART TO BALCOM
by Terry McNeill
Wednesday, July 22, 2015
Completing the Mendocino Music Festival’s piano series July 22 was an energetic recital by returning Festival artist Spencer Myer. The nearly full Preston Hall audience was treated to a program, announced from the piano, that had broad musical appeal and panache.
Exploring the Festival’s Mozart theme, Mr. Myer played the G Major Sonata, K. 283, with grace, balanced scales and seamless right-hand trills. The following Adagio and robustPresto unfolded with
silky grace and speed but without compelling inner voices or unique touches.
Schumann’s C Major Fantasia, Op. 17, closed the first half, the composer’s greatest large-scale work. In the opening movement the pianist brought extremes of dynamic range and declarative themes in the right hand to the emotional score that only resolves into C Major in the final 25 measures. The tempo taken in the famous march movement was fast, tempered by judicious pedaling and an occasional solo note held in the treble to effect. The contrary motion skips that bedevil so many pianists didn’t trouble Mr. Myer.
The finale (Langsam) was played with a poetically flowing stream of sound, punctuated by two big climaxes. The final three pianissimo chords were captivating. A standing ovation ensued.
Ravel’s F-Sharp Major Sonatine began the second half and was given a polished interpretation in Modéré with the most beguiling tone color of the afternoon, especially when the artist played softly. The Animé had a shimmering quality with subtle rubato and deft pedaling. The performance had lots of charm.
In his remarks to the audience Mr. Myer noted that Chopin’s Polonaise-Fantaisie, Op. 61, was a complex tone poem pointing the way to the Polish composer’s last works. His playing underscored the rhythmic characteristics of the dance form while the music opened into novel (for 1846) harmonies and an improvisatory and meditative middle section. There was an extended pause at the end before the final loud chord.
Three of William Balcom’s popular piano rags closed the program in grand style, and the artist seemed to enjoy the excitement caused by the sprightly “Old Adam” two step and the “Graceful Ghost.” The rag fantasy “Serpent’s Kiss” was the most complex and taxing work of the three, and the audience (me too) loved the gymnastic finger technique Mr. Myer applied to “Kiss.”
One encore was offered, Earl Wild’s variations on Gershwin’s 1930 hit from “Girl Crazy,” I got Rhythm. The pianist conquered the difficult close cross-hand figurations with ease and flair.
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