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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
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.