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Symphony
ZUILL PLAYS ZWILICH WITH SANTA ROSA SYMPHONYby Steve Osborn Sunday, March 28, 2021 ![]() Chamber
ECLECTIC CELLO PIANO VIRTUAL RECITAL FROM TOMKINS ZIVIAN DUOby Terry McNeill Sunday, March 28, 2021
The venerable 41-year Redwood Arts Council Series in Occidental has joined the virtual recital world with low budget but artistically satisfying programs, mostly using videos filmed in the performer’s residences. March 28 saw the Tanya Tomkins-Eric Zivian duo present an eclectic program from their ...
Symphony
SANTA ROSA SYMPHONY HITS THE SWEET SPOTby Steve Osborn Sunday, February 28, 2021 ![]() Chamber
NOVEL OBOE-HARPSICHORD RECITAL FROM AIKEN DUO IN UKIAH by Terry McNeill Sunday, February 21, 2021
Oboe and harpsichord recitals are a rare North Bay event, even in a pandemic environment where a formal hall setting isn’t available. So it was a delight Feb. 21 to experience on the Ukiah Symphony’s website a recital by Symphony oboist Beth Aiken and harpsichordist husband Tom.
The Aiken home vis...
Symphony
A HEALTHY MIX OF TRANSCRIPTIONS AND ORIGINALS FROM THE SR SYMPHONYby Steve Osborn Sunday, January 24, 2021 ![]() Symphony
HEROIC EFFORT FROM THE SANTA ROSA SYMPHONYby Steve Osborn Sunday, December 13, 2020 ![]() Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLYby Steve Osborn Sunday, November 15, 2020 ![]() Chamber
SPLENDID STRINGS IN A SUNLIT GARDENby Abby Wasserman Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music.
The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERTby Terry McNeill Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks.
Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCASTby Terry McNeill Saturday, October 17, 2020 |
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HIGH ARTISTRY IN CONCERTS GRAND'S OPENING RECITALby Terry McNeillSunday, 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. |