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Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
Chamber
RARE MAHLER QUARTET AT MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, March 24, 2019
Piano quartets are relatively rare in the classical literature, and there are only about 40 compositions for the combination of piano, violin, viola and cello, mostly from the Romantic period of the mid to late 1800s. It therefore was special March 24 to hear three great works of this medium, perfor...
CHAMBER REVIEW
Sonoma Classical Music Society / Sunday, March 25, 2012
Nigel Armstrong, violin. Marilyn Thompson, piano.

Violinist Nigel Armstrong

ARMSTRONG BRINGS DOWN THE HOUSE

by Terry McNeill
Sunday, March 25, 2012

Local boy makes good was the operative theme March 26 when violinist Nigel Armstrong played a recital before a jammed Andrews Hall in downtown Sonoma, the event produced by the Sonoma Chamber Music Society. From Mr. Armstrong’s initial entrance with pianist Marilyn Thompson to a final raucous encore, the audience seemed to hang on every note and bodily movement of the young violinist.

The first half, consisting of Beethoven’s “Spring Sonata” and the Debussy Sonata, was problematical. Andrews Hall is not a kind acoustical space, with its high ceiling, plaster walls and surprisingly almost zero reverberation. The result was heavy piano dominance. Frequently one saw Mr. Armstrong’s flashing bow but not enough sound from him, especially in the scherzo and the finale (Rondo) pizzicato. Tempos in the Spring Sonata were moderate, the interpretation fluent and impressive in the long line of the Adagio, but on the whole a routine performance without special flair.

Debussy’s 1917 masterwork in G Minor, his last fully completed work, received some lovely playing that underscored its harmonic ambiguities. Mr. Armstrong’s soft playing in the opening Allegro Vivo was lovely, and in the high tessitura of the "Intèrmede" his vibrato widened but varied little, the ending soaring over a hushed crowd that included three rows of stage seats.

In a program change, the violinist skipped Ernst’s “Last Rose of Summer” variations and played the four-movement Ysäye solo Sonata No 2. Mr. Armstrong’s affinity with virtuoso works was on display in this composition, with many quotes from Bach (Third Partita) and the "Dies Irae" theme. The Sarabande was especially bouncy, the pizzicato and double stop effects performed with clean articulation. Mr. Armstrong played the "Les Furies" finale letting in a lot of air, the short motifs interrupted by rests and vigorously accented. It was a highlight of the afternoon.

Ms. Thompson then returned to the piano, whose lid had gone from short stick to no stick, and played Faure’s fetching Op. 75 Andante with the violinist. Instrumental balance had markedly improved, and the performance was sui generis Faure. Though rarely programmed, the piece is instantly recognizable, and it was performed without score, as were all the pieces in the second part. Faure's melancholic loveliness mated well with the following Tchaikovsky Op. 42 Melody, the third of three short pieces from an 1878 Suite the composer wrote at his patron’s country estate. The interpretation lacked rhythmic flexibility as musical schmaltz in the Melody is highly desirable!

Mr. Armstrong’s signature piece, Saint-Saëns’ "Introduction and Rondo Capriccioso," concluded the formal program. It was originally written for violin and orchestra, so the piano transcription is a daunting combination of fiery instrumental skips and slides for the fiddle, and it drew from the Ms. Thompson her most forceful and bass heavy playing of the program. A thunderous standing ovation was the result.

But Mr. Armstrong was not done yet, and in an encore anticipated by many in the hall he played Corigliano’s "Stomp." This solo work was commissioned by the 14th Tchaikovsky International Violin Competition in 2011, to be played by all competitors, with the sheet music received by each shortly before the Moscow Competition. It’s a whirlwind of dissonant notes and chopped phrases, and to everyone’s delight involved briefly playing the violin behind the back and resounding right-food stomps in various sequences. Intoxicating!

Needless to say, it brought down the house and the artist reveled in the warm affection and excitement his playing brought to his hometown fans.

Robert Hayden contributed to this review.