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Chamber
THE LINCOLN RETURNS WITH CLARKE'S PUNGENT TRIO
by Terry McNeill
Thursday, November 18, 2021
There were many familiar faces Nov. 18 during Music at Oakmont’s initial concert of the season, but perhaps the most necessary were the three musicians of the Lincoln Piano Trio, the Chicago-based group that has performed often in Oakmont since 2006. A smaller than unusual audience in Berger Audito
Symphony
NOSTALGIC BARBER KNOXVILLE AT SO CO PHIL JACKSON THEATER CONCERT
by Terry McNeill
Sunday, November 14, 2021
In their first Jackson Theater appearance of the new season the Sonoma County Philharmonic presented Nov. 14 a program devoid of novelty, but showcasing the “People’s Orchestra” in splendid performance condition after a long COVID-related layoff. Conductor Norman Gamboa drew a committed and boister
Chamber
THRILLING PIANO QUINTETS IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 14, 2021
The Mill Valley Chamber Music Society sprang back to life on November 14 when a stellar ensemble from the Manhattan Chamber Players, a New York-based collective, arrived to perform two piano quintets: Vaughn-Williams’ in C Minor (1903), little known and rarely performed; and Schubert’s in A Major D.
Chamber
MUSCULAR BRAHMS FROM IVES COLLECTIVE IN GLASER
by Terry McNeill
Sunday, November 14, 2021
Leaving SRJC’s Newman Auditorium for the first time in decades, the College’s Chamber Concert Series presented a season-opening concert Nov. 14 in Santa Rosa’s Glaser Center with the four-musician Bay-Area based Ives Collective. The season, the first given since 2020, is dedicated to Series Founder
Symphony
MONUMENTAL BRAHMS SYMPHONY HIGHLIGHTS MARIN SYMPHONY RETURN
by Terry McNeill
Sunday, November 7, 2021
In the waning COVID pandemic the Marin Symphony is one of the last Bay Area orchestras to return to the stage, and they did with considerable fanfare Nov. 7 before 1,200 in Civic Center Auditorium, with resident conductor Alasdair Neale leading a demanding concert of Brahms, Schumann and New York-ba
Symphony
APOLLO'S FIRE LIGHTS UP VIVALDI'S FOUR SEASONS IN WEILL
by Terry McNeill
Saturday, October 30, 2021
Long ago the Canadian violin virtuoso Gil Shaham played a program in Weill Hall of solo Bach, with a visual backdrop of slowly developing visuals, such as a pokey flower opening over four minutes. The Bach was sensational, and some in the audience liked the photos but many found them disconcerting,
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
RECITAL REVIEW

Nikolay Khozyainov Jan. 13 in Mill Valley (A. Wasserman photo)

KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL

by Abby Wasserman
Sunday, January 13, 2019

In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and gratified.

His program began tenderly with the opening bars of Chopin’s F Major Ballade No. 2, Op. 38, contrasting gentle passages with thunderous outbursts to evoke manifold emotions. Then he interpreted Chopin’s poetic B Major Nocturne Op. 62, No. 1 as a meditative rumination flooded with nostalgia, and performed with lovely touches of rubato.

Mr. Khozyainov then launched into Stravinsky’s Three Movements from the 1921 ballet “Petrushka”: Russian Dance, In Petrushka’s Cell, and The Shrovetide Fair. The original orchestral version of Petruhska was composed in 1911 for Sergei Diaghilev’s Ballets Russe, but in 1914 a transcription for piano, four hands, was arranged by Stravinsky and others, and eight years later the composer created a three-movement solo version. In a stunning performance the artist achieved the sound and coloration of a full orchestra. His ability to bring clarity to every voice while making a blend of all the voices was breathtaking.

Stravinsky’s Danse Sacrale from the ballet The Rite of Spring followed, and the impact was sharply contrasted from the Petrushka performance. While well performed, the section (a maiden’s sacrificial dance to the death) features clashing, disturbing dissonances that sounded muddied and chaotic, as surely they do in the orchestral version. It is meant to be played in context of the complete ballet, and only then do its dissonances make full sense.

After intermission Mr. Khozyainov opened the second half with a verbal introduction to Sonatina Facile by the German composer Jörg Widmann (b. 1973). The pianist said the Sonatina “brings the past and present together to create the future,” and so it was with this spritely and surprising composition in three movements (allegro, andante, rondo). Each movement begins with a transposition of opening bars from Mozart’s C Major Sonata, K. 545. Rich in unexpected sonorities and pulsating rhythms, the Sonatina seems at first like a mash-up, as it’s part homage, part exploration of the new. The composer slides in tastes of a Bach fugue, a Chopin figuration, and tidbits from other composers as he explores new tonalities and compelling rhythms.

Beethoven’s “Appassionata” Sonata, No. 23 in F Minor, Op. 57, concluded the recital. Mr. Khozyainov’s beautiful performance was rich in feeling, balance, tempo and clear inner voices. As throughout, his pedaling achieved unusual clarity and balance of voices. One of the pianist’s great strengths is pulse – the quality of accentuating rhythms. His playing in the first and third movements was thrilling. In the early measures of the andante con moto variations with its chordal exchanges between hands, he brought out the left hand motive, explaining in a remark after the concert that the cello voice is meant to be emphasized. This served to make those opening passages darker emotionally while not overshadowing the lovely soprano lines.

In the end the audience didn’t want to let Mr. Khozyainov go, and the standing ovation went on so long that after three bows he returned to the piano and played Liszt’s Grand Galop Chromatique, a dazzling tour-de-force. Still, the ovation continued, and he returned to play Satie’s Gymnopedie No. 1 with elegant sensitivity. Even that was not enough. The final encore was Busoni’s Sonatina No. 6, Fantasy on Themes from Bizet’s Opera “Carmen,” with changes made by the pianist.

Many members of the audience surrounded Mr. Khozyainov with congratulations and good wishes after the last encore before departing into the rainy night.