RecitalSCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
SymphonyHULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
SymphonySANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
RecitalSLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
SymphonyFOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
RecitalMUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
RecitalNOVEL 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 connois...
ChamberCONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
RecitalBRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
ChamberMUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
HIGH ARTISTRY IN CONCERTS GRAND'S OPENING RECITALby 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.
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.