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Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.  Of the surprisingly large array of festivities there, one of t...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago “Golden Era” of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didn’t play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuber’s work to the public’s attention, and now they seem to be on almost ever...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Recital
DEDIK RECITAL MARCH 12 IN SPRING LAKE VILLAGE SERIES
by Terry McNeill
Monday, March 12, 2018
Pianist Anastasia Dedik has been an occasional North Coast visitor, playing with her Trio in Ukiah, and in recitals in Sonoma and with the Spring Lake Village series. She returned March 12 to Spring Lake (a retirement community, with Impresario Robert Hayden) in an abbreviated recital before a pack...
Recital
CHOPIN BALLADES FEATURED IN CONCERTS GRAND RECITAL
by Terry McNeill
Saturday, February 24, 2018
Pianist Nancy Lee Harper made an elegant North Coast debut Feb. 24 in the Concerts Grand House Recitals series in a private Santa Rosa home. Ms. Harper, for decades a performer and teacher in Portugal, has recently relocated to Northern California, played an all-Chopin recital that was comprehensiv...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Recital
HOME RECITAL BACH COMPLETES HOLIDAY SEASON
by Terry McNeill
Saturday, December 30, 2017
The just closing 2017 year was a calamity for many, but locally in music there were joys galore, and it was fitting Dec. 30 have the balm of two Bach’s violin sonatas in a private Guerneville home recital hosted by the eminent musician Sonia Tubridy. Violinist Richard Heinberg joined Ms. Tubridy in...
RECITAL REVIEW
Creative Arts Series / Sunday, October 16, 2011
Janine Johnson, harpsichord

Harpsichordist Janine Johnson at the Oct. 16 Santa Rosa Concert

CREATIVE ARTS SERIES OPENS WITH STELLAR HARPSICHORD RECITAL

by Joanna Bramel Young
Sunday, October 16, 2011

Impresario Beth Zucchino’s Creative Arts Series presented a recital by harpsichordist Janine Johnson October 16 at the Resurrection Parish in Santa Rosa. A small but appreciative audience heard Ms. Johnson perform works from the Baroque and Classical periods. The artist is well known to East Bay audiences as a performer and a builder and decorator of the instruments, working for 25 years with the renowned Berkeley harpsichord builder and restorer John Phillips.

The program was ambitious, covering both German and French harpsichord and organ composers. Opening the concert was a Toccata in C minor by the youthful Bach that was probably inspired by the Buxtehude, a composer Bach admired. Bach once walked to North Germany to study with the great older master. On the Flemish style double keyboard instrument Ms. Johnson moved effortlessly between lower and upper keyboards, creating contrasting effects – always giving a clear and vivid rendering of the music. During one dramatic section in the Toccata one was reminded of an operatic recitative, with its declamatory phrases and rich ornamentation.

Buxtehude’s Suite in E minor, next on the program, was full of arpeggios (or open chords) which Ms. Johnson said derived from lute technique. A suite is a traditional Baroque form, a collection of dances, which were often meant to be danced to. Each dance has its correct tempo and style, which Ms. Johnson demonstrated with different finger articulations and ornaments, bringing out the characteristics of each dance. This reviewer especially enjoyed the Courante, where the hand lifted lightly off the keyboard, leaving little spaces between the notes that enhanced the lively rhythms. The harpsichord, while unable to play loud and soft – that is why the fortepiano was given its name – creates variety and drama by other means, including length of notes, spaces between notes, and chordal and contrapuntal textures.

Johann Christian Bach, a Mozart contemporary, wrote his Sonata in G major about 1671, and it sounded quite different from the Buxtehude and J.S. Bach works. Written in the Classical style, his work sparkled with tender melodies in the right hand and Alberti bass effects in the left. The work was very charming and full of fun. Ms. Johnson told us that Mozart took many of J.C. Bach’s harpsichord sonatas and made arrangements of them.

Jean-Henri d’Anglebert was harpsichordist for the court of Louis XIV, and is probably the greatest harpsichord composer before Louis Couperin (1668-1733). D’Anglebert’s Suite in G minor exploited the resonant bass strings of the harpsichord, bringing forth a mournful, heartfelt dignity to the work. The Allemande was stately and sweet, with many rolled chords and ornaments.

The recital ended with Bach’s familiar Fifth French Suite in G major, composed in 1722. This suite, unlike the d’Anglebert, was not meant to be danced to, and could be played more freely. Bach elevated the dance suite to its highest point, becoming a form, rather than just background for dancing. Bach’s turns and trills throughout the suite were played with great elegance by Ms. Johnson. The jubilant Gigue ending created a big, full-throated sound with the coupling of the two keyboards and the lilting 6/8 rhythm of the dance. It was full of joy, and very uplifting – a fitting conclusion to an exquisite concert.