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Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosaís Jackson Theater the repertoire for tour concerts in San Josť, Costa Ricaís capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious†building†that is one of Sonoma Countyís loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.† Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hallís residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLERíS FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the universityís stone gates on Sunday afternoon, mirroring the prolonged farewells within the universityís Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. SaŽnsí majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec lí...
Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now they seem to be on almost ever...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
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 Mozartís "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 Chopinís 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.

Brahmsí 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 Schumannís 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 doesnít have a big sound, but itís big enough.

The brilliant and arduous final study, an expansion of the march format in Schumannís 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.