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Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosaís Jackson Theater the repertoire for tour concerts in San Josť, Costa Ricaís capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious†building†that is one of Sonoma Countyís loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.† Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
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 concertís opening music of Schubert, in this case the E Flat Sonata from 1817, D. 568.

Ms. Tichmanís 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 Schubertís piano sonatas can seem far too long, but itís 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 recitalís highlight.

Chopinís 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. Tichmanís 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 Debussyís 12 Etudes from 1915 were heard, pieces rarely seen on a concert program. Walter Gieseking thought the set as difficult as either of Chopinís Ops. 10 and 25, and Ms. Tichman began with Pour les tierces and Pour les Degrťs chromatiques. The latter was the more interesting, the artistís right hand busy in perpetual motion and the left hand quickly playing in the treble. The barcarolle-like Pour les Agrťments contained parts of Debussyís 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 Schumannís imaginative comment about Chopinís Preludes: ďsketches, ruins and eagle wings.Ē Ms. Tichman played four from score, the In Moto Scorrendo and Molto moderato Preludes reflecting Chopinís 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. Itís 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. Tichmanís 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 workís architecture at the expense of weighty sonority, and the approach did not quite unlock Rachmaninoffís passion and powerful rhythmic surges.

No encore was offered.