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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
Dominican University of California Guest Concert Series / Sunday, November 15, 2015
Mikola Suk, piano

Pianist Mikolya Suk

SIC TRANSIT GLORIA SIGISMUNDI

by Terry McNeill
Sunday, November 15, 2015

One often hears of yet another new fiery Russian pianist, and the mental picture is of a 16-year old with octaves and temperament to burn. But older Russian artists can command a virtuoso’s seat the piano, as aptly proved by Mykola Suk in his recital Nov. 15 before 150 in Dominican University’s Angelico Hall.

Seventy years is of little consequence when a pianist has the vision and technique of Mr. Suk, and the recital juxtaposed two familiar works with several “old ghosts” in the repertoire.

Familiarity was contained in Beethoven’s “Moonlight” and Liszt’s “Dante” Sonatas. Both were played with exceptional attention to pianistic details, and the Liszt work (Fantasia Quasi Una Sonata: Apres une lecture de Dante) has been a specialty for the artist. It was not note perfect playing but Mr. Suk’s powerful octaves and tremolos in the treble gave the work the needed free rhapsodic character.

Unfolding at a moderate tempo the Beethoven C-Sharp Minor Sonata had many interesting touches: novel broken chords, unusual slight end-of-phrase pauses and avoidance of ritards. The Allegretto was played demurely and omitted any nod to the dance textures.

Mr. Suk tore into the Presto Agitato finale and played it with dramatic staccato chords and tumult when it was necessary, but also with blurred right hand scales and substantial damper pedal.

Two rarely-heard works, Beethoven’s improvisatory Op. 77 Fantasia and Hummel’s La Contemplazione (Op. 107, No. 3) passed without making much of an impression in the all-fantasy program, but Thalberg’s Moses In Egypt Fantaisie, Op. 33, a paraphrase from Rossini’s opera, certainly did. The late Raymond Lewenthal resurrected the piece and sporadically it appears on a festival or scholarly program. Here it had center stage.

Mr. Suk’s passage work with countless arpeggios and Rossini’s luscious tunes were impressive, and the loud repeated chords were telling. One has to either like opera paraphrases or not. I do. And Mr. Suk sits at the instrument (like Thalberg) with little extraneous motion. It’s all business for him, and one can be happy to have heard the “Moses” in such an artistic performance before it settles again into obscurity.

There was no encore.