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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
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
CHAMBER REVIEW
Sonoma Classical Music Society / Saturday, January 05, 2013
Nigel Armstrong, violin. Elizabeth Dorman, piano

Nigel Armstrong and Elizabeth Dorman Jan. 5

NATIVE VIRTUOSITY

by Terry McNeill
Saturday, January 05, 2013

Violinist Nigel Armstrong is becoming a virtuoso staple for North Bay concerts, having played locally over the past three years in private homes, with symphonic groups and in several formal recitals. January 5 found him giving a benefit recital for the Sonoma Classical Music Society in his Sonoma hometown in the west side Kenny residence. It was an exceptional afternoon of music making.

With pianist Elizabeth Dorman, Mr. Armstrong opened with Beethoven’s Romance in G Major, a 10-minute work usually heard with orchestra. The piano reduction worked well, and Ms. Dorman was attentive to the soloist’s suave melodic line, carefully matching a lovely ascending and descending violin line at the midpoint.

The afternoon’s chief work was Schumann’s A Minor Sonata, Op. 105, a surging romantic piece from 1851 that Mr. Armstrong was playing for the first time in public. The warm partnership of the Beethoven Romance continued throughout this restless Sonata. The many modulations in the opening movement (“with passionate expression”) were deftly highlighted by the violinist, and his vibrato was wide and often pulsating. The short intermezzo was well played, ending in a soft series of pizzicato violin notes coupled with expressive, almost somber chords from the piano. Schumann’s restless energy burst forth in the finale. The duo performed the sudden dynamic contrasts pungently, and the rush to a tragic end moved the audience of 50 to loud applause.

Two movements from Bach’s solo Third Sonata (BWV 1005) began the second half. Mr. Armstrong played the opening Adagio soulfully and the long three-part fugue masterfully. A Bach work for solo piano came next, the popular B Flat Partita (BWV 825) with seven brief movements. Ms. Dorman’s committed playing was often too loud, and in the flowing first movement arabesques her rhythms were unstable. She does enjoy extravagant ornamentation on repeats but has yet to acquire much color in her playing.

Ending the recital were Brahms’ Hungarian Dances Four and Five in the Joachim arrangements. Every bit of these virtuosic and gypsy-like compositions was played with soaring vitality by Mr. Armstrong. He often leaned down to his pianist to underscore a phase, beginning with a nod or a wave of his fleet bow tip. The double and sporadic triple stops were faultless.

As an encore treat for violin buffs, Mr. Armstrong played Ernst’s “Variations on The Last Rose of Summer,” the sixth of his Polyphonic Etudes from the 1860s. Curiously, the final two variations and finale were omitted. But no matter, what Mr. Armstrong played was coin of the fiddler’s realm and uniquely thrilling.

The Sonoma Classical Music Society’s spring season of three more concerts can be seen at www.sonomaclassical.org.

Bronislaw Irving contributed to this review