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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...
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.