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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
CHAMBER REVIEW
SRJC Chamber Concerts / Friday, March 27, 2009
David Korevaar, pianist

Pianist David Korevaar

KOREVAAR BALANCES THE POPULAR WITH THE UNKNOWN

by Terry McNeill
Friday, March 27, 2009

Pianist David Korevaar brought a curiously unbalanced program to the Santa Rosa Junior College Chamber Series on March 27 for the SRJC season’s final event. Unbalanced because the first half consisted of essentially unknown works, whereas the second half consisted of Schubert’s most popular piano sonata.

Korevaar, who teaches at the University of Colorado, began his recital in the half-full Newman Auditorium with Brahms’s Variations on a Hungarian Song, Op. 21, No. 2. A master of the variation form, Brahms wrote two big Paganini and Handel sets that have challenged pianists since the 1860s, but the variations here are shorter and less inspired. Unlike the Handel Variations, which only begin to sound like Brahms at the second variation, the Hungarian variations bear all the marks of the German master in the very first variation, right after the statement of the theme. Though the variations are not a subtle work, Korevaar played them convincingly, with a strong bass line and careful development of the complex theme.

Erno Von Dohnanyi, a Hungarian virtuoso who ended his career in Florida, composed his Variations on a Hungarian Folk Song in 1916, and there are echoes of Liszt, Brahms and Rubinstein in his 10 variations in classical form. The sound of chimes permeates several variations. Korevaar’s reliable octave technique served the digital demands in the ninth variation, and the concluding slow arpeggios of the tenth shimmered with rich colors.

A work probably unknown to the entire audience, Castelnuovo-Tedesco’s Piedigrotta (1924), closed the first half. Set out in five widely different movements, played here often without break, Piedigrotta is a Neapolitan rhapsody that makes virtuosic demands but delivers a piquant musical story. Opening with a lively tarantella, the work turns quickly to a nocturnal aria with references to Albeniz’s Iberia. Korevaar controlled the repeated chord figurations and swift hand crossings with ease, making the whirling and impulsive “Calasciunate” dance section an exciting blur of sound. These pieces, although not dissonant, reflect the harmonic language of impressionism and are close to Griffes’s The Fountain of the Aqua Paola. A lovely descending glissando introduces the final movement, where rapid repeated notes and minor seconds generate a giddy, wild ride all over the keyboard. A novel and provocative piece, Piedigrotta was thrillingly rendered by Korevaar to loud applause.

Schubert’s last sonata, in B-Flat (D. 960), was written shortly before the composer’ death in 1828, and has been a staple of non-Slavic pianists since the acclaim from performances by Schnabel in the 1920s. It’s a long haul, and in Korevaar’s reading the four movements lasted just over 45 minutes, with the deep and melancholic opening Molto Moderato running more than 19 minutes alone. Korevaar used the shift pedal continuously in the first two movements, juxtaposing a generally aggressive attack in the dramatic sections with the ethereal and constantly modulating melodies. The big sforzandos had punch, but a jarring break in the deeply felt first-movement texture — three bars of raucous un-Schubertian chords — were a mysterious intercession.

The Andante sostenuto was beautifully played, evoking a haunting and certainly religious feeling, the left-hand figures even and at times mesmerizing. The Scherzo, so different than what came before, was played with a light touch and a balance of off-beat accents and cheery frolic. The closing Allegro man non troppo was dramatic and boldly played, more in the style of Serkin’s persistence than Alfred Brendel’s nobility.

No encores were offered.

All in all, Korevaar performed an estimable recital, ultimately balancing three unfamiliar works with an aristocratic reading of Schubert’s sovereign sonata.