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Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising 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.