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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
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.