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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
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...
RECITAL REVIEW
Music at Oakmont / Thursday, October 17, 2013
Soheil Nasseri, piano

Pianist Soheil Nasseri

MORE WORDS THAN NOTES

by Terry McNeill
Thursday, October 17, 2013

Soheil Nasseri opened the 23rd Music at Oakmont season Oct. 17 in a piano recital where words from the artist nearly overwhelmed the offered music.

Choosing an all-Beethoven program, Mr. Nasseri preceded the A Major Sonata, Op. 101, with words of personal introduction and humorous anecdotes. The wonderful sonata itself, from Beethoven's last period, was played rather perfunctorily, with plodding tempos and a lack of rhythmic interest. The artist described a non-musical program for the work, but the performance never took off.

Seven more minutes of commentary from the stage preceded the G Major Sonata, Op. 31, No. 1, but here the playing became interesting, with contrasting dynamics and contrapuntal clarity. Nasseri is not a colorist, but he has a transparent sound and shapely phrasing. In the second movement, his right-hand scale passages were lucid.

After finishing the second sonata prior to intermission, Nasseri spoke to the audience in a manner unique in my history of concert going. He said he would be signing CDs by the front door and invited people to chat with him over the interval about his career.

Following intermission, Nasseri spoke again to the audience and then played Beethoven's 11 short Bagatelles from Op. 119. His playing mostly caught the intriguing character of these miniatures with quickly shifting moods. It was concise and direct playing, revealing the composer's subtle humor and small-form creativity. Number six was a jewel, with a restful introduction giving way to convincing pianistic agitation.

Before concluding the program with Beethoven's mighty C Major Sonata, Op. 53 ("Waldstein"), Nasseri asked if anyone had questions about him and his career. Three people did. The subsequent playing was in all ways adequate but small-scaled, the initial tasteless small ritards lessening the momentum of the opening Allegro con Brio. Nonetheless, Nasseri effectively continued an interpretation based on minimum pedal and middle-of-the road tempos. A small memory lapse (everything was played without score) came just before the ending. The short middle movement was performed with care and excellent balance between the hands, the overly bright top end of the piano carrying the pianissimo chords well.

Nasseri played the Rondo finale in the conventional dreamy way and took the pedal in the opening 12 bars to stress the fundamental bass notes. It was some of the best playing of the day, although orthodox throughout, with little left-hand voicing or a big sound. Nasseri did lavish more tone color in this remarkable movement, and in the famous ascending and descending octave passages, he chose a seco touch rather than glissandi.

There was no encore.