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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...
REVIEW

Pianist Nina Tichman

CRYSTALLINE SCHUBERT

by Terry McNeill
Thursday, March 11, 2010

Nina Tichman is a pianist with an artistic vision that puts clarity and proportion above all else. In her Oakmont Concert Series recital March 10, one of many she has played in Berger Auditorium, these sterling qualities perfectly served the concert’s opening music of Schubert, in this case the E Flat Sonata from 1817, D. 568.

Ms. Tichman’s subtle phrasing and nuanced cantabile, added to the bright treble of the piano, caught inimitably the wistful nature of the opening movement. Damper pedal was judiciously applied and there was a light touch throughout. The G Minor Andante Molto movement was played with mystery, almost a question and answer, and was lovely. Often Schubert’s piano sonatas can seem far too long, but it’s a heavenly length for musicians, and in the final three movements there was not a forced note or an unclear phrase. The long lines were relaxed and the many modulations in the finale deftly rendered. It was a perfectly chaste reading of a rarely-played score and for me the recital’s highlight.

Chopin’s often played Polonaise Fantasie, Op. 61, followed, and Ms. Tichman continued in a lyrical and understated vein. There was no sonic emphasis on the bass notes at the opening, and the pianist was in no hurry to stress the tone poem parts of this marvelous composition. It was a restrained performance, the loose formal structure proving no obstacle for Ms. Tichman’s transparent playing, the forward-looking chromatic harmonies unfolding in sharp relief. The final A flat chord, marked Fortissimo, was played that way, breaking the quiet of the long tenuto and soft left-hand trills.

After intermission four of Debussy’s 12 Etudes from 1915 were heard, pieces rarely seen on a concert program. Walter Gieseking thought the set as difficult as either of Chopin’s Ops. 10 and 25, and Ms. Tichman began with Pour les tierces and Pour les Degrés chromatiques. The latter was the more interesting, the artist’s right hand busy in perpetual motion and the left hand quickly playing in the treble. The barcarolle-like Pour les Agréments contained parts of Debussy’s La Cathedral engloutie and here the pedaling was precise and embellishments telling. The final Pour les Octaves was brilliantly played, but at a moderate tempo.

Contemporary composer Stefan Heucke (b. 1959) has written many compositions with stark social themes, and has just completed a set of Preludes, Op. 61, that incorporates Schumann’s imaginative comment about Chopin’s Preludes: “sketches, ruins and eagle wings.” Ms. Tichman played four from score, the In Moto Scorrendo and Molto moderato Preludes reflecting Chopin’s muse, at least on an initial hearing. The former had a whirl of notes, many sections in contrary motion, and great washes of sound with the damper pedal. The Molto moderato had a polonaise flavor, but one with a dissonant nobility. The pianist played the final Prelude (Sehr langsam und schwer) as a dirge march, deep bass notes sounding as tone clusters and contrasting with chords high in the treble. The effect was intense but never offensive. These are robust works.

Concluding the recital were three short Rachmaninoff works, beginning with the early Polichinelle from Op. 3. It’s not an ingratiating work, perhaps because of its meandering length, similar in rhythms to the compact and powerful Oriental Sketch of 1917. The pianist played it well but the G-Sharp Minor Prelude of Op. 32 quickly overshadowed the Polichinelle. Here Ms. Tichman’s ringing sonorities resembled sleigh bells on a snowy Russian night, musical clarity and lucid textures again her achieved goal.

The D Major Etude-Tableaux, Op. 39, No. 9, is a work of high drama, a formidable task for a pianist with lots of big chords. Ms. Tichman adopted a sober tempo, underscoring the work’s architecture at the expense of weighty sonority, and the approach did not quite unlock Rachmaninoff’s passion and powerful rhythmic surges.

No encore was offered.