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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
RECITAL REVIEW
Music at Oakmont / Thursday, March 09, 2017
Einav Yarden, piano

Pianist Einav Yarden

NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL

by Terry McNeill
Thursday, March 09, 2017

Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont.

The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connoisseurs nor for popular taste, but was full of rarely-played music from always-played composers. Somehow Beethoven’s magisterial A-Flat Major Sonata managed to get into the mix.

Ms. Yarden has been specializing lately in Haydn’s middle period sonatas, and it was refreshing to hear a work for the first time, the F Major No. 44. She played it very well, using a lot of damper pedal at the end of phrases and keeping the drama small-scaled but effective. The pianist underscored the stylistic diversity and innovation of the opening moderato and paid careful attention to harmonic nuances, of which there are many in this work that doesn’t have the usual level of the composer’s playfulness. The adagio was lovely, the tempo just right.

Schumann’s last set of three Fantasiestücke, Op. 111, closed the first half. Here again the artist played the swirling phrases and sweep of the C Minor in a beguiling tempo, and made the lovely and fragmentary A Flat (No. 2) sound a little like Brahms. But only a little, as Schumann’s harmonies prevailed, as they did in the march like C Major finale that had echoes of the great march from the Op. 17 Fantasy in the same key. Ms. Yarden played the simple theme and quick descending motifs flawlessly, which made the middle section sound all the more graceful.

Following intermission the composer’s Waldszenen, Op. 82, received a performance that stressed the connective tissue between the nine sections: tonal balances, asymmetrical phrasings and many staccato chords and even phrases. There seems to be no forte chords in this piece from 1849, and the entire recital eschewed loud outbursts of sound. Highlights of the playing included the contrapuntal lines in “Solitary Flowers,” poetic and almost flighty playing in the B Flat “Friendly Landscape”, and the extended questioning and a long and delicate decrescendo at the conclusion of “The Prophet Bird.”

Many of the themes in Forest Scenes harken to Schumann lieder, especially the Op. 25 songs “Myrthen,” and Ms. Yarden captured these aural references with idiomatic phrasing and pellucid tone color.

Beethoven’s penultimate Op. 110 Sonata closed the program in a polished and never bass-heavy reading. This glorious Sonata from 1821 is deeply expressive in its three semi-distinct movements, and Ms. Yarden treated the opening moderato in a leisurely manner, amiable and always eloquent. She was never in a hurry

This approach characterized the figurations in the scherzo-like allegro molto and the lyric introduction to the noble fugue. Textures were clear and the cantabile was limpid. It was persuasive Beethoven playing, vivid and convincing. If there was any interpretative misstep it came at the end when the final five bars lacked the non legato punch down to the final a-flat note and the upward push to the last raw fortissimo chord. The musical ecstasy was just missed.

No encore was offered.

Four of Beethoven’s early and seldom-played Op. 33 Bagatelles opened the recital, and each was a gem. Mr. Yarden’s tempos were ideal, as was careful half-pedaling and in No. 2 spotlighting Beethoven’s sly humor. In the will-of-the-wisp No. 7 she played scales and quick repeated notes impeccably.