Joyce Yang's sensitive and powerful performance of Tchaikovsky's First Piano Concerto illuminated a concert's second half, following the bold contrasts characterizing the first.

Music by Piazzolla and others quickens the pulse (click photo to see entire image)

A pandemic-postponed conert wows its capacity audience

Dynamic Trios in Mill Valley Concert (click to see entire photo)

A return to the author's Peace Corps site after 45 years

Eight months into the Covid-19 pandemic, a small group of music lovers were treated to a rare live performance.

In 1934, Ann Rice O'Hanlon painted a fresco mural at the University of Kentucky. Today, it is a source of controversy.

A freewrite from August 27, 2020 on the theme of "portents."

The Aizuri Quartet's intriguing program delighted their Mill Valley audience

Beethoven, Berg and Bartók by the Telegraph Quartet

Program features music by Ferranc, Rachmaninoff, Gordon-Canosa and Schubert

An art historian's take on Abby's recent exhibit at O'Hanlon Center for the Arts.

Rumor-mongering about the Peace Corps has a long history in Colombia. Friends of Colombia challenge fiction of new movie and popular novel.

Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s.

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. (classicalsonoma.org review)

50 years after a cultural turning point, a look at how two rural communes drove the county’s very own psychedelic rise and fall. (Sonoma Magazine)

If a single work by David Ireland can puzzle, provoke and fascinate, what is the likely impact of a whole retrospective?

In 1967 Fred Martin noted in his studio journal, "You can work from the world within, you can work from the world without. But to work from the free passing between worlds, that is the difficulty."

Arriving at Garry Knox Bennett's Oakland loft, I am welcomed with a big hug by Geraldo Bennucci. "Ambrose is making lunch," he says, referring to Ambrose Pillphister, the painter, "and Garry's debating a fine point with a band saw. Vino?"

Robert Bechtle's sparkling California light and dense shadows, his gleaming American cars parked on empty streets, and his neat pastel row houses are like a reflection in someone's dark glasses. You see more of yourself than the wearer.