Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
SOLO BRILLIANCE IN SANTA ROSA SYMPHONY CONCERT
by Terry McNeill
Saturday, February 17, 2024
Opera
OPERA GEMS IN COZY SEBASTOPOL THEATER
by Pamela Hicks Gailey
Friday, February 9, 2024
Choral and Vocal
LUSTROUS VOCAL SOUND AT KUZMA'S SCHROEDER RECITAL
by Pamela Hicks Gailey
Sunday, February 4, 2024
Symphony
HAYDEN'S SAXOPHONE CONCERTO AT SO CO PHIL CONCERT
by Ron Teplitz
Sunday, January 28, 2024
Chamber
SPIRITUAL STRING MUSIC IN BLACK OAK ENSEMBLE'S MARIN CONCERT
by Abby Wasserman
Sunday, January 28, 2024
Chamber
VIRTUOSIC HARP RECITAL AT SPRING LAKE VILLAGE SERIES
by Terry McNeill
Wednesday, January 24, 2024
Chamber
EMOTIONAL BLOCH PIECE HIGHLIGHTS PELED'S RAC RECITAL
by Peter Lert
Sunday, January 21, 2024
Chamber
OYSTER TRIO AT THE ROSE SIGNATURE SERIES
by Terry McNeill
Sunday, January 14, 2024
Chamber
CANTABILE CHARMS IN MIXED 222 GALLERY CONCERT
by Terry McNeill
Saturday, January 13, 2024
Choral and Vocal
A GRAND DIVA'S SHIMMERING AND PROVOCATIVE RECITAL IN WEILL HALL
by Pamela Hicks Gailey
Thursday, January 11, 2024
RECITAL REVIEW

Pianist Judy Walker at Concerts Grand

IDIOMATIC SCHUMANN AND BEETHOVEN HIGHTLIGHT WALKER'S CONCERTS GRAND RECITAL

by Terry McNeill
Sunday, September 23, 2018

Mostly known as a concert producer and indefatigable promoter of Sonoma County music, pianist Judy Walker stepped into the soloistís role Sept. 23 in a sold out recital for the Concerts Grand House recitals series.

Two Scarlatti Sonatas, in D Minor (K. 213) and D Major (K. 29), began the hour-long event, and she played the first slowly with a lingering character, and the presto D Major with crisp attention to flamenco guitar mood and fast repeated notes in alternating hands. The three inner parts to Schumannís five-part Op. 26 Faschingschwank aus Wien followed. The wistful and beguiling romanze led easily into the scherzino in B Flat, both performed vigorously. Ms. Walker gave passion to the popular E Flat intermezzo, certainly echt Schumann playing.

Arguably the afternoonís best playing came in Beethovenís Les Adieux Sonata, Op. 81a, and according to the artistís pithy introductory comments it was written in 1809 and was a bridge from the virtuosic Waldstein and Appassionata Sonatas to the seminal and spirited late piano works. Parts of the opening adagio-allegro with its fast staccato chords were a challenge for Ms. Walker, but she played the lovely andante (líabsence) at just the right tempo (not overly slow) and a rich tone.

One of Beethovenís most joyful movements, the concluding vivacissimament was appropriately exultant and the phrases picked up in momentum towards the end with the cascades of descending and then ascending notes. The pianist clearly had an affinity with this humorous and sprightly music, and the playing received substantial applause.

Though no encore was provided, Balakirevís arrangement of Glinkaís original song The Lark could have been one. Next to the novel harmonies of the short introduction the main laconic and sad theme was set out by Ms. Walker with clear trills and concise pedaling, allowing the haunting melody to be heard through the pianistic filigree. A captivating performance.

A patio buffet honoring Ms. Walkerís Concerts Grand debut followed the recital.

Among attendees was the artistís teacher, Peggy Nance, who played a Concerts Grand recital during the inaugural 2003-2004 season in SRJCís Newman Auditorium.