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Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Recital
RISKY SPEED IN POTENT LUO RECITAL
by Terry McNeill
Sunday, January 22, 2017
Each half of pianist Wei Luo’s Schroeder Hall recital Jan. 22 contained beguiling interpretations and consummate technical command of Shostakovich and Albeniz works, but each half finished with less than exalted playing. Two of Shostakovich’s Op. 87 Preludes and Fugues opened the recital, from the ...
Recital
COLORFUL SCHUBERT AND CHOPIN WARM WEILL HALL IN AX RECITAL
by Nicki Bell
Friday, January 20, 2017
On a stormy winter evening Jan. 20 a rainbow of colorful Schubert and Chopin music came from the fingers, feet and heart of pianist Emanuel Ax.  Playing at the Weill Hall for the first time, this recital was a tribute to beauty in the arts. It conveyed the value and glory of balance, lyricism and el...
Recital
SOUND AND FURY IN MATSUEV WEILL HALL RECITAL
by Terry McNeill
Saturday, October 22, 2016
A touring virtuoso’s reputation often precedes him or her, and usually that’s a good thing. The reputation of a Renée Fleming or a Yo Yo Ma can guarantee a sold out hall, and possibly a great concert. But not always, and so there was some concern at Russian pianist Denis Matsuev’s Oct. 23 Weill re...
Recital
ARTISTRY AND AMPLE RELAXED CHARM AT PERLMAN RECITAL IN WEILL
by Terry McNeill
Thursday, October 20, 2016
Itzhak Perlman has fashioned a career that encompasses more than virtuoso violin performance, and includes teaching, narrating musical documentaries, score editing, humanitarian projects, charity events and an often an easy “ah shucks” demeanor that is always beguiling. With pianist Rohan de Silva ...
Recital
MORGAN'S ORGAN VIRTUOSITY SHINES IN ALL BACH RECITAL IN SCHROEDER
by James Harrod
Sunday, October 16, 2016
Robert Huw Morgan, Stanford University’s consummate organist, returned to the Green Music Center’s Schroeder Hall October 16 to play a thrilling recital of great Bach organ music from mostly Bach’s Cöthen period. Professor Morgan’s eclectic program included the Prelude and Fugue in E Flat Major, B...
Recital
NORTH GERMAN CHORALES WERE MUSIC FOR THE SOUL AT AGO RECITAL
by James Harrod
Sunday, August 28, 2016
Organist Paul Blanchard played an outstanding and instructive recital August 28 at Santa Rosa’s First Presbyterian Church. It was the fourth and last in a series of summer Sunday recitals featuring organists of the local chapter of the American Guild of Organists (AGO), and underwritten by the Churc...
Recital
FRESH AND LIVELY HANDEL ORGAN CONCERTOS IN AGO ARTIST RECITAL
by James Harrod
Sunday, August 21, 2016
Organist Beth Zucchino played a delightful recital of three Handel concertos August 21 at the First Presbyterian Church in Santa Rosa. This was the third in a series of summer Sunday recitals featuring organists of the local chapter of the American Guild of Organists (AGO). The program was three o...
Recital
INSPIRING INTERPRETATIONS IN DE SANTIS ORGAN RECITAL
by James Harrod
Sunday, August 14, 2016
Organist Greg de Santis played a delightful and expertly shaped recital of mostly familiar selections August 14 from the classical organ repertory at the First Presbyterian Church in Santa Rosa. The program opened with Mendelssohn’s C Minor Prelude and Fugue, Opus 37, No 1. The three preludes and ...
Recital
BALANCED VIRTUOSITY IN ATZINGER MMF RECITAL
by Terry McNeill
Saturday, July 16, 2016
Pianist Christopher Atzinger’s Mendocino Music Festival recital July 16 in the small Preston Hall looked formidable on paper larded with what might be said to be “non festival, non summer” music. There were no light Gershwin or Schubert dance works, and for some the six pieces from Brahms’ Op. 118 ...
RECITAL REVIEW
Concerts Grand / Sunday, February 19, 2012
Elizabeth MacDougall, piano

Elizabeth MacDougall Plays Debussy's Suite Feb. 19 at Mendocino College

MACDOUGALL'S PIANISM CHARMS MENDOCINO COLLEGE AUDIENCE FEB. 19

by Terry McNeill
Sunday, February 19, 2012

The adage that no woman is a prophet in her own home town was, as usual, proven false Feb. 19 when Ukiah native Elizabeth MacDougall gave a warmly satisfying piano recital in Mendocino College’s Choral Room under the auspices of Concerts Grand.

Ms. MacDougall’s artistry has long been admired in the Mendocino County community, and for this recital of three works her audience packed the small room and heard a committed and serious presentation, beginning with Bach’s G Minor English Suite, BWV 808. Ms. MacDougall is a thoughtful, focused player that pays attention to Bach’s pesky details and is liberal with repeats, though at times she lacks flamboyance. These salient qualities served her well in the set of dances that comprise the Suite. Her trills and turns throughout were clear, as was the articulation. The Courante was lovely with careful phrasing and, as with all the movements, she manages rock steady tempos. The Gigue sparkled and was judiciously played.

Debussy’s popular Children’s Corner Suite closed the first half and like the Bach Suite was prefaced by extended remarks from the artist. Composed in 1908 for his daughter, Debussy in six disparate movements encapsulates memories of his own childhood and suggests comparison with Schumann’s Kinderscenen and Faure’s Dolly Suite. The Dr. Gradus ad Parnassum section had clear chordal outlines and was built to a fine toccata-like conclusion, and Ms. MacDougall carried a relaxed approach into the famous Serenade for the Doll, heavily using the shift pedal and contrasting legato and staccato sections. The concluding Golliwog’s Cake Walk was played with spice, the jazzy harmonies accented and again the pace steady and deliberate.

Played from score as was the entire recital, Beethoven’s magnificent Sonata in E, Op. 109, comprised the entire second part. This restless but amiable work was played introspectively but without the wrenching espressivity that appears in the second movement's theme and six variations. Ms. MacDougall can spin a lovely cantabile and her pedaling was always clean, letting the music unfold naturally. What I missed was more flexibility in phrasing, as even the heavenly phrase that ends the work needed a more supple rhythm and touch.

Responding to a standing ovation, the pianist played Chopin's arristocratic C-Sharp Minor Waltz, Op. 64, No. 2

Ukiah musical benefactors Joan and George Louie underwrote the concert and hosted a lavish reception in their home, replete with music making at their two pianos and exceptional curry and dessert dishes. Praise for such musical support can go no higher.

The reviewer is the producer of the Concerts Grand series.