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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
RECITAL REVIEW
Oakmont Concert Series / Thursday, March 14, 2013
Nina Tichman, piano

Pianist Nina Tichman

TICHMAN IN COMMAND AT OAKMONT RECITAL

by Terry McNeill
Thursday, March 14, 2013

Attending a Nina Tichman recital is a warmly familiar experience, as the Cologne-based pianist plays nearly everything in the standard literature with a professional command and artistic probity. There is sentiment in her playing but not sentimentality, attention to detail that is never fussy, and interpretations of intriguing music that are sober and thoughtful.

In her fifth recital in the Oakmont Concert Series on March 14, Ms. Tichman programmed a lively first half consisting of unfamiliar Mozart, familiar Brahms and five Chopin Mazurkas. All the pieces had a dance theme, beginning with Mozart’s "Fragment of a Suite," K399, and the once-popular "Eine Kleine Gigue," K574. These are curious works, at first sounding like Bach but harmonically not Bach. They are improvisational, and Ms. Tichman played them with clear contrapuntal lines and incisive phrasing.

Five of Chopin’s magical Mazurkas came next, in B Major (Op. 41, No. 2), F-Sharp Minor (Op. 6, No. 1), F Minor (Op. Post.), C-Sharp Minor (Op. 50, No. 3) and the A-Flat Major Mazurka of Op. 59, No. 2. These small tone poems were lovingly played by Ms. Tichman, the highlights being the sad lament and captivating ending of the F-Sharp Minor, and the languorous C-Sharp Minor. Her touch and chordal voicing was delicate throughout. The final A-Flat Major Mazurka with its deceptive cadences was faultlessly performed, though the last four (dotted) chords were hurried.

Brahms’ 16 short waltzes, which ended the first half, were composed in the 1860s, in versions for four hands, two pianos and solo piano. Ms. Tichman brought a party approach to this perennially happy music, along with a transparent sound and a bit of Schubert in several of the waltzes.

Following intermission Ms. Tichman delivered a rarely-heard version of Schumann’s Symphonic Etudes, Op. 13. The sonic surprise was the inclusion of four of the five seldom-performed studies, interlarded among the standard 12 studies. In remarks to the audience of 150 in Berger Auditorium, Ms. Tichman named Brahms as the arranger of the studies. The additions make the work long; but it is a lovely length, where each mood and figuration varies considerably.

The opening theme was played mezzo forte (though often performed with an eerie pianissimo) and seamlessly moved into the demanding variations. Ms. Tichman chose four of the five posthumous variations, omitting the third and dropping the repeats in the first (Andante) and fourth (Allegretto). She lavished exceptional care on these short gems, overcoming a wide range of pianistic hurdles. Her staccato chord technique and wide skips for the left hand were accurate, and the perpetual motion segments posed no difficulty to her deft and polished technique. She doesn’t have a big sound, but it’s big enough.

The brilliant and arduous final study, an expansion of the march format in Schumann’s Op. 9 "Carnaval," was performed taking the two initial short repeats and with dramatic sforzandos and a driving momentum to a powerful finish.

No encore was offered, and applause was subdued, unexpected given the beauty and authority of the performances. A sixth engagement for this estimable artist at Oakmont would be welcome.