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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
RECITAL REVIEW
Concerts Grand / Sunday, April 15, 2012
Natasha Paremski, piano

Natasha Paremski Bows April 15 Following The Hersch Variations

NATASHA PAREMSKI BRINGS DOWN THE HOUSE AND FINAL CONCERTS GRAND CURTAIN APRIL 15 IN NEWMAN

by Kenn Gartner
Sunday, April 15, 2012

Local favorite Natasha Paremski presented the final Concerts Grand recital of the ninth season April 15 with an eclectic program of super rare and super popular piano music. It was an exciting afternoon.

Miss Paremski is a deft verbal commentator with audiences and has great command of the instrument. Her octaves were almost like machine guns and her finger work in each of the five programmed pieces was elegant when necessary and forceful during passages which required strength.

The concert in SRJC’s Newman Auditorium began with Brahms’ F Sharp Major Sonata, Op.2, a work totally absent from programs in my memory. Her interpretation exceeded that of Julius Katchen, the pianist often associated with the recorded Brahms‘ oeuvre. Throughout the sonata there were huge contrasts in dynamics which helped delineate conversations between high and low registers, but occasionally this was accompanied by harsh sounds in the piano’s treble. The first movement begins with fistfuls of octaves done with drama and panache, and the second theme, two quarter notes plus a triplet, was heard clearly. The second movement developed large contrasts from piano
pianissimo to forte fortissimo and Ms. Paremski projected them with aplomb.

As with the program's concluding piece, Prokofiev's 7th Sonata, Brahms' third movement Scherzo allegro has a "military" configuration and difficult grace-note turns, which at speed are pesky, but here they were clear and sounded like explanations. The finale's subtle repeat showed how the artist could shade recurrent motives, albeit with a pedal that often blurred the line. It was rushed playing. The pianist's body English was ever present and enjoyed by the nearly packed audience. A standing ovation was the reward.

Jazz pianist Fred Hersch's Variations on a Theme from Tchaikovsky’s Fourth Symphony closed th first half, in its second performance anywhere. The premiere was April 14 at Sacramento State University. Written for Miss Paremski, the variations are not traditional in any sense and are tonal throughout with lots of 16th notes in both hands and triplets abounding. One variation had the left hand doing figurations over the right, followed by the right over the left, and the pianist wasn't happy with the results, saying "thanks Fred" and began the phrase again. The crowd loved her insoucience and me too. These innovative variations were certainly diverse: a tango, high register song, a Joplin knock off, bitonatity. New music performance is to be applauded and the composer Guillaume Machaut said "anything not composed within the past two weeks is not worth listening to."

Using the score, the performance didn't sound like it was sight read. Mr. Hersch could not have a better advocate for his work.

Two Chopin works began the second half, the dramatic F Minor Fantasie and the D Flat Berceuse (Op.57) with its rocking left hand ostinato figuration. In the Fastasie, one of Chopin's greatest works, Ms. Paremsky underscored the improvisitory and march-like passages, and in the sorcery of the Berceuse the ascending and descending right-hand arabesques were played with delicacy. The Fantasie was a "modern" performance with little rhythmic flexibility but interesting sforzando effects. It was a big boned conception.

Prokofiev's B-Flat Sonata was billed as the artist's signatue piece and she pushed the already fast tempos in the outer movements. The opening Allegro inquieto has a passage of nearly 32 bars which gets louder and faster and more agitato, and here Ms Paremski drove the envelope at least as far as Horowitz, and it was thrilling. The bluesy, jazzy interlude of a a second movement (a rose between two thorns?) received a calm and thoughtful interprepation, setting the stage for the famous precipitato finale. Here the 7/8 meter has an ostinato consisting of five notes over two measures, played in octaves. This is similar to the "clave" in Latin music. She stormed though it with hardly a nod to rubato or release, but the composer was said to have wanted it played like a machine.

Naturally it generated a storm of applause and Ms. Paremski returned to play Rachmaninoff's lovely C minor Etude Tablauex from Op.33. Here she phrased the captivating melody in what is really a nocturne with elegance and almost nostalgia.