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Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
RECITAL REVIEW
Mendocino Music Festival / Thursday, July 13, 2017
John Novacek, piano

Pianist John Novacek After Playing Intoxication Rag July 13

NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL

by Terry McNeill
Thursday, July 13, 2017

Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the second half.

After intermission the Los Angeles-based artist began by choosing two of Shostakovich’s great Op. 87 Preludes and Fugues, the inaugural one from the set of 24 (in C Major) and the monumental D-Flat Major. The Prelude had a beautiful shimmer with bell tones, and heavy pedaling lent an aura of mystery to the drawn-out fugue. In the D Flat the pianist underscored the works sarcasm, and played the complicated fugue in just the right tempo. Mr. Novacek is not a colorist but in the demanding fugue nailed the work’s momentum and excitement.

Excitement continued with Ginastera’s Danzas Argentinas, an early Op. 2 work that has been popular since its 1937 composition. The Danzas del Viejo boyero was marked by agile playing of thirds, with the right hand only on the white keys, and the left hand on the black. and the haunting Danza de la moza donosa had an attractive “swing.” In the toccata-like finale (Danza del gaucho matero) the rhythmic accents are forceful, but the sound was too loud and clarity was lost in the driving ending.

Regarding the overall Preston Hall sound, this year the house piano was moved 180 degrees to the south wall, and somehow this seemingly unimportant instrument placement sporadically amplified Mr. Novacek’s fortissimo chords and upset contrapuntal balances and thematic clarity. But the Ginastera can take a lot of noisy playing, and the audience of 125 responded to the ending’s double glissando with a roar of approval.

Three of the artist’s own rags closed the program – Schenectady, 4th Street and Intoxication. Easy virtuosity and many false cadences were heard in the first, and the artist mentioned that he liked the rhythmic sound of the title. Fourth Street featured small trills and subtle accents that were languorous and charming with slow offbeat accents and subtle dissonances. This street felt hot and humid. He played it wonderfully.

The final work was intoxicating indeed, a roller coaster ride of pulsating sound and whole sections of ragtime sound played with the damper pedal down for bars at a time. Of course such a barnburner piece brought down the house. Surprisingly the energetic ovation did not produce an encore.

Nothing in the playing of the first half’s two works, Beethoven’s Op. 10, No. 2 Sonata, and Schumann’s masterful Op. 9 Carnaval, was in any way ordinary. But for me the sum of all the parts didn’t quite equal a consummate whole. The opening allegro of the F Major (1796) was played aggressively with a careful control of staccato chords and sharply etched phrases. Mr. Novacek caught the humor in the first and especially the last movement, the latter mirroring several of Haydn’s Sonatas. Articulation was crisp and the presto movement's tempo had firm control.

In speaking to the audience prior to the Schumann the pianist related the 1835 work’s creation, and then said he would verbally describe each of the 21 sections as the piece unfolded. Presumably most of the Preston audience found the process helpful, but some quietly decried the loss of small inter-piece connections and musical flow. I found the decision it a misstep, but a small one. More important was Mr. Novacek’s conception of this many-faceted composition, and his is a contemporary conception that spotlighted section architecture and histrionics rather than tone color, rhythmic flexibility and inner voices.

Some of the afternoon’s best playing came in the Papillon, Reconnaissance (fast repetitions) and Paganini sections. Paganini was played with a seco touch, and at a slower-than-usual tempo, and was persuasive. He omitted the mysterious Sphinx section, in contrast to the iconic Rachmaninoff and Cortot recordings. Aveu was played with a singing touch with time for a one patient big inner left-hand voice and layered pedaling at the pianissimo accelerando.

As the work drew down to the big descending chords preceeding the March Against the Philistines, Mr. Novacek produced the one convincing romantic retard in the performance, a delight, but then followed with fast and blurred playing in the March that became a tsunami of notes. Well, Rachmaninoff did the same thing, and generated the same result that presumably the artist wanted. It was propulsive but in the end did not sew up a lyrical, balanced and convincing Carnaval.