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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
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.