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Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
RECITAL REVIEW
Santa Rosa Junior College Chamber Concerts / Friday, December 07, 2012
Anton Nel, piano

Pianist Anton Nel

THE COMPLETE PACKAGE

by Terry McNeill
Friday, December 07, 2012

Listening to Anton Nel’s piano playing is similar to meeting a charming avuncular relative for a good meal – always much to savor. The Austin-based artist played a balanced and instructive recital Dec. 7 in SRJC’s Newman Auditorium as part of the College’s chamber music series.

Nel opened with a consummately played rendition of Bach’s seven-movement D Major Partita, BWV 828. In the Allemande, he lavished chaste tone and selected a slow tempo, playing off the dissonances. The Courante was an object lesson of clear contrapuntal lines, and the repose of the Sarabande was underscored as the pianist played the left-hand crossover arabesques impeccably. The last notes were breathlessly held. The Gigue and Fugue was again perfectly gauged, not too fast, and the ornaments were deftly performed.

Nel’s pianistic control moved easily into Debussy’s Estampes, but here he added color and a bit of mystery in the opening “Pagodes.” “La Soireé dans Grénade” was a sultry and complicated dance under the artist’s fingers, and he half pedaled sections of “Gardens in the Rain” with a broad dynamic range.

Closing the first half was the “Allegro Concierto” of Granados, a bravura work from 1904. Here the palette became brighter and the improvisatory character seemed sun-drenched. It was the most exciting playing of the evening.

Two cornerstone works comprised the second half, Chopin’s F Sharp Barcarolle, Op. 60, and Beethoven’s “Waldstein” Sonata, Op. 53. Mr. Nel stressed the Italianate character of Chopin’s themes, and the rhythmic undulations suggested Grand Canal gondoliers. He let lots of air into the piece and never hurried. A lovely performance.

The Waldstein Sonata received a masterful interpretation. Clean scale playing is a prerequisite, and Nel provided bright and tidy runs throughout all three movements. He eschewed inner voices and some of the opening Allegro’s humor in favor of a thoughtful conception with subtle ritards. The sonorous short Adagio was played throughout with full shift pedal, generating haunting warmth.

Mr. Nel adopted a dreamy approach to the final movement’s beginning, his damper pedal technique precise and the long trills in both hands always even. He never was in a hurry and was content to let the passion of the writing emerge from his terrific pianism. The written glissando octaves were played as single notes.

A standing ovation produced a glowing performance of the Liszt transcription of Schumann’s “Widmung,” Op. 25. The encore was a fitting end to a complete package of high-level pianism by a commanding artist.