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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
RECITAL REVIEW
Concerts Grand / Sunday, November 14, 2010
Ksenia Nosikova, piano

Ksenia Nosikova in Newman Auditorium Nov. 14

DRAMATIC SCHUMANN AND LISZT WORKS HIGHLIGHT NOSIKOVA RECITAL IN NEWMAN

by Terry McNeill
Sunday, November 14, 2010

Another chapter in the North Bay’s homage to the Schumann bicentennial occurred Nov. 14 when Russian pianist Ksenia Nosikova played two Schumann works in a Newman Auditorium recital filled with musical rarities.

Performing on the fourth Concerts Grand series event, Ms. Nosikova (faculty artist at the University of Iowa) began not with Robert but with Clara, playing the latter’s Notturno in F Major, a lyrical and often sentimental work. The piece received a deft reading with judicious tempos, legato pedaling and tonal richness. An early romantic piece, elegantly played.

Completing the first half was a quite different Schumann composition, Robert’s F Minor Sonata, Op. 14. This sprawling work needed all of Ms. Nosikova’s artistry to connect with the audience of 75. Ms. Nosikova chose the latest edition of the Sonata, written in 1836 and called a “Concerto Without Orchestra,” that includes five movements with two Scherzos. The music is dense, featuring cascades of notes juxtaposed with simple melodies, and difficult to keep together. The pianist clearly had spent long hours making sense of the gnarled music, her memory assisted by a reduced size score resting on the piano’s tuning pins. The dramatic intensity was underscored by gobs of powerful chords, lots of volume and often a monochromatic and clangorous sound. The audience frequently seemed more benumbed than entranced, and they signified appreciation of the pianistic heavy lifting with strong but not overwhelming applause. The Schumann Second is a work that needs more than a little sorcery to be an effective recital piece, and in the extended format, even with the artist’s sterling advocacy, the impact was diluted.

Four arcane Liszt transcriptions were programmed in the second half, a brave decision by the artist but ultimately providing a less-than-successful musical experience. Unlike Liszt’s reworkings of themes from “Rigoletto,” “Tannhaüser” or “Norma,” the operas of Gounod and Meyerbeer are little known today, and lack the cohesive architecture of the paraphrases and transcriptions that the Hungarian master lavished even on an opera as rare as “Simon Boccanegra.” Gounod’s “Queen of Sheba” (1862) and “Roméo et Juliette” (1865) provided some rich melodies, but the music tended to wander through many repeats and uninspired patches. Ms. Nosikova gave each her ample technical prowess and considerable sonority, though it was by no means a note-perfect performance. There are lots of balls in the air in these virtuosic transcriptions and they attract few virtuosi.

Meyerbeer’s “Le Moine” was the most charming work of the group, the themes beautifully etched by the pianist, whose cross-hand technique and manifold skips were perfectly secure. The printed program mistakenly listed another Meyerbeer work, “Illustrations” from “L’Africaine,” as part of “Le Moine” and caused confusion with some in the audience.

No encore was offered by Ms. Nosikova, something not surprising given the long and arduous program and a reception by listeners that was at times tenuous.