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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
Mill Valley Chamber Music Society / Sunday, March 12, 2017
Sara Daneshpour, piano

Pianist Sara Danespour

MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL

by Terry McNeill
Sunday, March 12, 2017

Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minute Boulez “Incises,” written the 1990s. Clearly it wasn’t going to be a conventional recital played routinely or timidly. Recitals don’t begin with Boulez.

“Incises” is a fast percussive piece with fistfuls of notes in both hands, and the artist explored all the piano’s registers with controlled strength. Her pedaling was especially effective in the parts of large washes of sound, alternating with skittish and ferocious sforzandos. The interpretation was unique with strumming effects overlapping phrases and the use of the sostenuto pedal for many measures produced a layered sound. The fermata at the end was long and sealed a potent reading of a ferocious work that was in some ways took artistic courage to program.

Muscular pianism continued with Ravel’s popular Gaspard de La Nuit, but surprisingly the opening Ondine began slowly with inner voices coming to the fore and the modulations underscored. But true to form Ms. Daneshpour deftly ratcheted up the temperature with lyrical sections that were also balanced and never forced. In Le Gibet the slow march was played at just the right tempo to hear the distant bell effects in the bass.

The artist had a command of pianistic sonority that changed from the controlled mezzo piano of the middle movement into virtuoso bravura in the fearsome concluding Scarbo. The rolled bass octaves gave a thunderous impact. Clarity is tough to achieve in this movement that is full of fast repeated notes and powerful climaxes, and at times Ms. Daneshpour’s treatment the diabolical nature of the music was on the edged of too much speed. However, the music can accept such sweep and power, and the audience rose for an ovation following the final eerie right hand notes that were played quietly and without any ritard.

Chopin’s F-Sharp Barcarolle began the second half and the artist took a measured approach with the Italianate melody and arabesque phrase shapes. It was a thorough and rhythmic steady reading that featured minimal rubatos and warm but never splendid tone color. Piano acoustics in the widespread Mount Tamalpais Methodist Church don’t favor rich legato playing and here some of the exquisite undulating theme was not lucid. This was unimportant in the Ravel and the to-come Prokofiev, but in Chopin’s Barcarolle delicate legato is critical.

Returning to the day’s big musical conceptions Ms. Daneshpour closed the recital with a pungent performance of Prokofiev’s Eighth Sonata, Op. 84. In the opening andante dolce the playing was less “dolce” than orchestral, and the artists shaped big contrasts and piquant inner voice notes leading to loud climaxes and an interplay of vocal lines at the end.

The second movement intermezzo was played with soft lyricism that belies the banal theme the composer magically develops. The final Vivace became in Ms. Daneshpour’s hands a lengthy rondo that was played mostly clamorously and with an insistent dissonant bass line. It was a bright and often-raw reading that sporadically had spirited lyricism. Though not as popular as the composer’s “sister” Seventh Sonata in the same B Flat key, the Eighth (finished in 1944) is the greater work, and Ms. Daneshpour’s formidable keyboard artistry and ability to dominate Prokofiev’s percussive and poetic score produced a compelling and convincing musical experience.

There was no encore.