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Recital
A WANDERING MILLER IN SCHUBERT'S AGELESS CYCLE
by Mark Kratz
Sunday, April 24, 2016
The Green Center’s Weill Hall is a Sonoma County treasure that allows North Bay audiences to enjoy the world’s finest musicians against the backdrop of our grapevine-covered hills. German baritone Matthias Goerne and pianist Alexander Schmalcz presented a recital of Schubert’s song cycle "Die Schön...
Recital
EERIE SCHUBERT AND SOPORIFIC BRAHMS IN MIDORI RECITAL IN WEILL
by Terry McNeill
Saturday, April 23, 2016
California has long been a big part of Midori Goto’s career, and she now teaches and tours from the USC campus in Los Angeles. After never performing in Sonoma County, the violinist’s area debut April 23 in Weill was a moderate success before an audience of 800 that included a large sprinkling of s...
Recital
CHRISTIE RETURNS TO SCHROEDER WITH THE FAMILIAR AND THE NEW
by James Harrod
Sunday, April 17, 2016
Organist James David Christie returned to Schroeder Hall on the SSU campus April 17 to play an awesome concert of Baroque music on the Hall’s Brombough Opus 9 organ. The artist performed to a large appreciative and attentive audience, and presented both familiar and unknown musical selections from t...
Recital
OAKMONT 25TH ANNIVERSARY CONCERT FEATURES KAHANE'S SCHUBERT AND CHOPIN
by Terry McNeill
Sunday, April 10, 2016
Jeffery Kahane spreads his musical largess widely. Since leaving a Sonoma County residence for Colorado the pianist has returned often for performances, the most recent the wildly successful ChamberFest series at the Green Music Center last summer. April 10 found him again in Sonoma County, this t...
Recital
LISZT AND CHOPIN THE VEHICLE FOR ELEGANT PIANISM IN WATTS' WEILL HALL RECITAL
by Nicki Bell
Friday, April 01, 2016
In the public eye for more than 50 years, Andre Watts is a legendary American pianist from the bygone era of William Kapell and Gary Graffman. Dressed in concert tails, old fashioned now to some, he reverted April 1 to a another long ago virtuoso’s choice by bringing to his Weill Hall recital his o...
Recital
STUNNING BROWNLEE RECITAL IN WEILL CAPPED BY HIGH C'S
by Peter Benecke
Friday, March 11, 2016
Tenor Lawrence Brownlee gave a March 11 Weill Hall recital that treated those who were willing to brave the elements to an evening of great artistry, sensitivity and vocal perfection. The musical world has come to expect seamless agility, vocal fireworks and seemingly endless high notes from the be...
Recital
TRAVELING VIRTUOSO AND HIS ORGAN IN SPLASHY WEILL CONCERT
by James Harrod
Friday, February 12, 2016
Few concerts in Weill Hall are really “over the top.” Inspiring, dramatic and even deliciously splashy won’t really qualify for that sobriquet. But Cameron Carpenter’s Feb. 12 organ recital was sensational in every way. Traveling with his four-manual electronic organ and a special setup crew, Mr....
Recital
FAN RETURNS TO OAKMONT IN AN ECLECTIC RECITAL
by Terry McNeill
Thursday, February 11, 2016
New York-based pianist Joel Fan hasn’t been a stranger to Sonoma County, having played in both the Concerts Grand and Music at Oakmont venues. February 11 he returned to Oakmont’s Berger Auditorium in an eclectic and often electric recital before 200. Beginning with Ginastera’s first Sonata Op. 22...
Recital
BACH AND BUXTEHUDE ORGAN MASTERY IN MORGAN'S SCHROEDER RECITAL
by James Harrod
Sunday, January 31, 2016
Stanford University organist Robert Huw Morgan played an exciting and interesting program of Baroque music in Schroeder Hall January 31, performing the entire concert with faultless virtuosity. The recital’s program consisted of both familiar and unfamiliar selections, and his choices were familiar...
Recital
INSPIRED SCHUBERT IN BRILLIANT HAMELIN RECITAL IN WEILL
by Terry McNeill
Friday, January 22, 2016
In addition his brilliant pianism, Marc-André Hamelin has built a substantial international career by embracing unconventional repertoire and innovative transcriptions. Who else plays Catoire, Hofmann, Chopin-Godowsky, Dukas, Medtner and…Hamelin? So the Canadian’s Jan. 22 Weill Hall recital was a ...
RECITAL REVIEW
Concerts Grand / Sunday, October 30, 2011
Frank Wiens, piano

Frank Wiens Plays Falla's Cubana Oct. 30 at Mendocino College (G. Louie Photo)

WIENS' SPANISH PROGRAM CHARMS CONCERTS GRAND AUDIENCE AT MENDOCINO COLLEGE

by Mendo Cinco
Sunday, October 30, 2011

Pianist Frank Wiens is a popular visitor to Northern California concert halls as recitalist and lecturer, but has strangely been absent from Mendocino County for decades. Under the auspices of the Concerts Grand series, this oversight was corrected Oct. 30 in a memorable recital at Mendocino College’s intimate Choral Room.

In a program that was almost exclusively Spanish music, Mr. Wiens began with chaste readings of two Soler Sonatas, in D Minor (DR 11) and D Major (DR 84). There was no rushing in the first, a beguiling reading, and the second was more Scarlatti like with a whirl of repeated notes, sharply-etched ornaments and an artful blending of themes. The D Major was a specialty of the late Spanish pianist Alicia de Larrocha, as were additional works that don’t attract many virtuoso pianists.

Two Albeniz pieces from his Iberia Suite came next, Evocacion and the familiar Triana. The pianist had exceptional rhythmic and pianissimo control in the first, the top notes singing and the many ritards subtle and impressionistic. In the F-Sharp Minor Triana (a suburb of Seville) Mr. Wiens evoked the flavor of a fiesta with dramatic gypsy chord playing.

A highlight of the afternoon was Falla’s four Pieces Espagnoles, from 1908, and probably a North Bay premiere performance. The opening Jota was a dance of percussive and brassy phrases, carefully gauged by Mr. Wiens, as was the seductive Cubana. Here the artist was in no hurry, underplaying the many modulations and meandering into unexpected sonic thickets. The third section, Montañesa, was played unaffectedly and with charm, and some use of the sostenuto pedal. It elicited a solo “bravo” from a listener, moving the artist to hold up one finger that indicated that the final Andaluza was to come. In this section Mr. Wiens’ playing sounded castanets in a Flamenco style, a bright dance that was improvisational but of course was pianistically impeccable.

The first half’s concluding work, Liszt’s Spanish Rhapsody, brought the audience of 37 to its feet in loud applause. The opening surprisingly did not have a fast tempo, with ample pedal point, and the rapid right hand arpeggiated chords resounded and did the accurate skips. The pianist sought clarity over speed in the tsunami of notes and the syncopated rhythms (Madrid rhythms?) and quick glissandos were exciting to hear. The standard ending was chosen over the more powerful ending fashioned by Busoni.

In a piece dedicated to the Spanish pianist Ricardo Viñes, Rodrigo’s toccata-like A l’ombre de Torre Bermeja began the second half in a rhapsodic vein far removed from the preceding Lisztian fireworks. The lyrical middle section was played elegantly, and the following bell phrases in both hands were telling. Mr. Wiens underscored the abstruse dissonances. The same could be said of his playing of two Granados works, the familiar Maiden and the Nightingale and Los Requiebros (Flattery) from the monumental Suite Goyescas. The long melody in the tenor in Maiden was captivatingly played, the many trills light and even, and ending with dainty filigree. The second work seemed to be too sectionalized, lacking clarity, the double notes never lucid.

Debussy’s La Puerta Del Vino from Book Two of his Preludes was the penultimate programmed work, and here was projected boldly with boisterous phrasing. A more boisterous piece, the Horowitz transcription of Bizet’s opera Carmen, concluded for formal program in grand style. The right-hand scale playing was very good, the big sound alleviated by short sections of repose. Mr. Wiens half pedaled many of the runs, the terrific Bizet themes pealing out with virtuosity, albeit not Horowitz, that seemed to push the limits of the piano and even the small Choral room.

One encore was offered, Mompou’s No. 6 from his Cançion i Danse Suite. The opening part (cantabile espressivo) was performed elegantly, in sharp contrast to the explosive rhythms of the concluding dance. A perfect encore.

The recital, played without score and in a snazzy concert tuxedo, was underwritten by Dorothy Sugawara, with area management by pianist and teacher Elizabeth MacDougall. Frank Wiens has at last ignited local interest in his artistry, to be on display again when he plays Grieg’s A Minor Concerto with the Ukiah Symphony Dec. 3 and 4 in Center Theater. A pianist worth discovering.