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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
CHAMBER REVIEW
Concerts Grand / Sunday, September 20, 2009
Nareh Arghamanyan, Pianist

Conductor Constantine Orbelian Congratulates Ms. Arghamanyan

HIGH ARTISTRY IN CONCERTS GRAND'S OPENING RECITAL

by Terry McNeill
Sunday, September 20, 2009

Anticipation was in the warm air Sept. 20 in Santa Rosa’s Newman Auditorium. In addition to being the first Concerts Grand Series recital of the year, there was excitement surrounding the Armenian pianist Nareh Arghamanyan, making her Northern California debut amid extravagant press notices and comparisons with such artists as the young Alicia de Larrocha.

Beginning with Mendelssohn’s best work for piano, the Op. 54 Variations Serieuses, Ms. Arghamanyan stated the theme slowly, almost reverently, and clearly she can shape a beautiful phrase. The entire work positively sparkled. But it was also a carefully thought out interpretation, the tempo changes in the variations seeming to flow naturally, the embellishments played with bravura that never buried the noble theme. In this work the composer moves from the declining chromatic line to a rising chromatic line with a serious nature, and yet it was quietly delicate, and the pianist could suddenly launch a fortissimo passage that made one almost jump from their seat.

Concluding the first half was Schumann’s mighty Carnaval, Op. 9, receiving a performance that compared favorably with that of Jon Nakamatsu on the same stage Nov. 30. Here the dynamic range was large, a lovely pianissimo in Reconnaissance and Replique contrasting the dynamic passion of the final Marche. The Chopin section had the right amount of subtle agitation, dynamic shadings and lyrical beauty. Sphinxes’ mysterious bass rumble was omitted. In the coda Ms. Arghamanyan chose at Piu Stretto a tempo that almost outran her fleet fingers and control. Almost. It was a performance that brought the audience of 110 to their feet in cheers.



Following intermission the pianist returned to perform the recently-popular Pletnev transcription of seven scenes from the Tchaikovsky “Nutcracker” ballet. With themes so familiar, Ms. Arghamanyan was free to lavish her considerable command of color and texture, each part unfolding differently than the preceding. The Intermezzo was especially effective, depicting the cold Russian winter, as were the strains of the celesta and harp in the Dance of the Sugar Plum Fairy. I found the playing ravishing, and deft pedal use allowed the artist to generate piano sound (as opposed to architecture or color) in and for itself. That is not a common trait in youthful pianists.

The recital ended with a signature piece for the artist and the work which captured the audience in her gold medal success at the 2008 Montreal International Piano Competition, the second Rachmaninoff Sonata. Ms. Arghamanyan used the composer’s revised version (1931) and gave a volcanic performance, but perhaps without the last bit of sonic power. Newman has dead acoustics but is sufficiently small that even a slightly underplayed Rachmaninoff work has considerable impact. It’s a three-movement work but the pianist gave the impression of having only one, the drama of the opening and closing Allegro sections connected by a lyrical and pensive interlude. Here again Ms. Arghamanyan’s mastery was evident, making a super-romantic composition cohesive and telling. No one was left in their seats following the final forte crashes, and one wondered what the demanded encore could be after the sonic carnage of Rachmaninoff’s glorious finale.

It was a wise encore choice, the nostalgic Bach arrangement of his contemporary Alessandro Marcello’s Adagio from the Oboe Concerto in D, BWV 974. Here Ms. Arghamanyan lavished lovely pianistic colors, paired with virtually no tempo fluctuation and a staccato touch. It was a riveting reading.

The recital stands with the recent Santa Rosa piano concerts of Hamelin, Kuschnerova, Pompa-Baldi and Nakamatsu as radiant musical art. And Ms. Arghamanyan is just 20.

The reviewer is the Producer of Concerts Grand. Jim Burns and James Houle contributed to the review.

Marin pianist Kenn Gartner attended Ms. Arghamanyan's recital and submitted comments on the pianism:

I shall not discuss interpretation (one may surmise what the mature Nareh Arghamanyan will do) or repertoire; instead, I shall confine my remarks to the reasons why this performance was so successful.

What was it about this young pianist's playing that entranced the Newman audience? For example, her two-note phrases were done beautifully. This is set of two notes, the first of which is louder than the second, and the second note starts at the level of the first note's decay. The pianist also took time to breathe. Most phrases in music are composed according to how long a human may sing them. Thus, there was time for breath between each sentence (a term also utilized in music) which varied according to the interpretation of the music. There were frames of silence around the movements and the works, and she kept her hands on the keyboard and thus conveyed to the house she was not finished with the work.

Her fortissimi were, for the most part, non-percussive: when she played loudly (and this piano was not truly able to respond to her demands) we did not hear the fingers rapping the key, a failing in many pianists. Instead, she grabbed the keys, thus avoiding the additional rap of the key hitting the key-bed. Miss Arghamanyan's pianissimos were made the same way: she pulled the sound from the instrument and controlled the descent of the key.

Last, and certainly not least, this pianist took the time to construct her phrases. If a particular moment required more time (this is the concept of the agogic) she took that time, stretching the music where it needed to be stretched, contracting the music where it needed to be contracted for the purpose of her vision. Think of what Chopin terms tempo rubato, or “stolen time.” The playing here had rubati, but the stretching of pianistic lines to create drama and sentiment goes far beyond what Chopin mentions.

My personal comment to her as she departed was that “This recital was worth 40 piano lessons!" She was so modest and unassuming I needed to explain that chronological age should never be an issue. I learned a lot.