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Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
RECITAL REVIEW
Oakmont Concert Series / Thursday, June 14, 2012
Barbara Nissman, piano

Barbara Nissman On The Oakmont Stage June 14

VIRTUOSIC PROKOFIEV AND LISZT IN NISSMAN'S OAKMONT RECITAL

by Terry McNeill
Thursday, June 14, 2012

Barbara Nissman’s pianism is best heard on her own terms, with little comparison to current performance practices. This was in evidence June 14 when the venerable West Virginia artist returned to Sonoma County, playing a long recital in the Oakmont Concert Series before 160 in Berger Auditorium.

The recital was long because of the artist’s spoken introduction (both incisive and silly) and because the program was packed with pieces associated with Ms. Nissman’s lengthy career, beginning with study under the Bartok specialist Gyorgy Sandor.

Liszt's transcription of Bach's A Minor Prelude and Fugue (BWV 543) opened the program, a propitious choice. Though piano transcriptions of Bach's organ works from d'Albert, Petri and Busoni were once popular, the Liszt work is the one currently heard and Ms. Nissman gave it a wonderful performance, stressing contrapuntal clarity over sonority. The artist lacks a big sound at the piano and during the entire concert there wasn't a true fortissimo. No matter, clarity prevailed through the repetitive phrasing of the Prelude and there were some beguiling staccato touches in the Fugue. An auspicious and captivating beginning.

Ms. Nissman is billed as a Romantic pianist but Beethoven’s C-Sharp Minor Sonata (Moonlight) was the antithesis of a romantic interpretation, and the cantabile first movement was played fast and almost without rubato, the shift pedal used throughout. The sprightly rhythms of the middle Allegretto were put into high relief with sharp changes in volume and bouncy clarity. In the finale (Presto Agitato) the broken chords were played masterfully and the entire movement had drama, albeit without the last ounce of power.

Six of Prokofiev's Visions Fugitives (Op. 22) and his Op. 28 Third Sonata closed the first half. Ms. Nissman has long been identified with the Russian's compositions and played everything superbly, eliciting in the Visions, each fewer than two minutes, disparate and complex pianistic vignettes. In No.1 Ms. Nissman found a droll, wandering scene, and the nostalgia of the eighth. Toccata rhythms of percussive dissonance were brought out in No. 14, and a Satie-like lethargy of the concluding No. 1.

Prokofiev’s one-movement Op. 28 Sonata has always been a Nissman specialty and she began at a fast clip, the bright and dry piano sound ideal for the driving tempest of the work. Here the artist and composer became one and I cannot remember a better performance of this pointillist and virtuosic Sonata. The accelerando in the coda was potent, the bravura intoxicating.

Three Rachmaninoff Preludes, all in a variant of G, began the second half. The popular and bucolic G major from Op.32 had many individual touches and a unique rush in the concluding bars. The G-Sharp Minor Prelude, from the same set, drew an evocative sound of troika bells and the pianist stressed the cool colors of the work, long associated with Horowitz. From Op. 23, the concluding G-Flat Major Prelude had the requisite lyricism but was also a prosaic in phrasing, needing a touch of repose.

The afternoon's major work, Liszt's B Minor Sonata, surprisingly closed the recital as it usually closes the first half. Quiet endings are seldom part of a final work in a piano recital. Santa Rosa has recently heard the Sonata in the hands of Bronfman, Ohlsson, Hewitt, Spooner and also eight years ago from Ms. Nissman in SRJC's Newman Auditorium. Her performance hasn't changed much, and was again individual in the approach to exhibiting reserved dynamics, attention to structure at the expense of heroics and brilliant scale passages. The artist sporadically sounded frenetic in rapid octaves (forceful but not majestic) but they never failed her, and the velocity of the fugue was compelling. Ms. Nissman worked hard to get color from the hall’s piano treble, with some success, and her legato playing was seductive. In sum, and unconventional and at times perplexing reading of this great work that on balance succeeded because of her strong individual vision.

Applause was large but not loud, but Ms. Nissman was determined to perform Ginastera, choosing the final two of the Dances Argentinas (Op.2) as encores. Associated with the prolific Argentine composer for decades, the pianist played the popular Danza de la Moza donosa and Danza del gaucho matero with palpable energy and attractive guitar-like rhythms. As in the Prokofiev, identification with the works was total and the playing ne plus ultra.