Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
RECITAL REVIEW
Music at Oakmont / Thursday, February 08, 2018
Chin-Un Hu, piano

Pianist Ching-Un Hu

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 aggressive and speedy mood, beginning with the complete Rachmaninoff Etudes Tableaux, Op. 39. These nine works from 1917 are far removed from the more popular studies from Op. 23 and 32, and mostly portray dark sonorities in knotty figurations and powerful rhythmic surges. Missing throughout the set was a warm piano sound, contributed to by the instrument’s bright top-end and of course the composer’s constant fist fulls of notes. Lots of notes, but they were great notes, and building blocks for Mr. Hu’s dramatic contrasts and big chords.

Highlights for me were the long ending fermata in the opening C Minor; the lyrical “wind and water” voicing of the A Minor (No. 2, that Respighi orchestrated so mysteriously); the accurate heraldic skips and doubled staccato chords in the allegro molto; the left-hand rumbles and graded ritards in the E-Flat Major appassionato; and finally the improvisatory and pianistic playing and dissimilar repeats in the A Minor allegro. Repeats that were varied, a welcome romantic pianism touch.

These were formidable short “tone poems” played well with the needed speed and momentum. This approach continued after intermission with Earl Wild’s Gershwin transcriptions – Embraceable You, Fascinatin’ Rhythm and the happiest of the three, I Got Rhythm. Each was a tour de force in quick scales and contrasts – jazz, a bit of Ravel, many arpeggios. The open textures and rolled chords revealed the piano going out-of-tune in the treble.

Chopin’s Op. 2 Variations on the “La Chi Darem La Mano” theme from Mozart’s opera Don Giovanni was next, a substitute for an Alkan piece. The playing had the easy charm and tour de force of scale passages characteristic of early Chopin and Thalberg, with legato and non-legato passages vying vigorously. It was the most bewitching piece in the recital.

Continuing the program’s focus on pianistic velocity were two Kapustin Concert Etudes from Op. 40. These were both played with a fiery technique, the first in presto revolving phrases, and the second with parts languorously sounding like Palm Court music from the 1950s. Ms. Hu’s command of tsunamis of notes was complete and the offbeat accents and intricate harmonies posed no difficulty for her. The program’s second standing ovation ensued, though not vociferous.

Prior to an encore (Rachmaninoff’s Op. 21 Lilacs) Ms. Hu announced that she was shortly to record an all-Rachmaninoff CD. The melancholic Lilacs was reminiscent of Chopin and was played vividly with a hazy use of damper pedal.