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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
RECITAL REVIEW
Sonoma Classical Music Society / Sunday, April 13, 2014
Anastia Dedik, piano

Anastasia Dedik April 13 in Sonoma

RUSSIAN PIANIST, RUSSIAN MUSIC, RUSSIAN DRAMA

by Terry McNeill
Sunday, April 13, 2014

In the season’s penultimate Sonoma Classical Music Society concert on Sunday afternoon, April 13, Russian pianist Anastasia Dedik played an all-Russian program that was heavy on drama with just a modicum of lyricism.

Two Rachmaninoff Etudes Tableaux opened the program, the E-Flat Minor from Op. 33 and the F Sharp from Op. 39. These are stormy pieces with broad rhythms and, in the latter, loud doubled staccato chords. These pieces have a lot of notes in a short span and were played aggressively throughout. The music was not helped by the Vintage House hall, its flat floor without stage generating muddy acoustics at any volume above mezzo forte.

Things brightened with a Prokofiev bagatelle, “Summer Fairy,” from his Op. 97 ballet “Cinderella.” Here Ms. Dedik accented Prokofiev’s mildly astringent harmonies. The short lyrical work was a pleasant surprise following the dense Rachmaninoff studies.

Another ballet transcription, Mikhail Pletnev’s selection of scenes from Tchaikovsky’s ballet “Nutcracker,” closed the first half with familiar melodies. The transcription is a charming virtuoso work of seven sections; Ms. Dedik played six. She stressed the left-hand rhythmic underpinnings of the stately opening March, and in the "Sugar Plum Fairy" and "Intermezzo" movements, she produced some of the day’s most elegant playing, the pure themes glowing and tranquil.

In the slow "Chinese Dance" and concluding "Pas de Deux" sections, the playing was most effective when Ms. Dedik did not force the tone. In the slow descending runs, the music unfolded naturally with rich low-register color.

Mussorgsky’s “Pictures at an Exhibition” filled the second half, and under the pianist’s fingers (and feet) it was an odyssey of sonority and contrast. She chose a theatrical and at times histrionic approach to the work that demanded every bit of pianistic drama her technique could provide. The repeated ”Promenade” effectively tied together the ten sections. Ms. Dedik is not a note-perfect pianist, but in the “Ballet of the Unhatched Canary Chicks” her playing gave the illusion of scattering motion and even joy. Her performance throughout this massive work stressed sonic power at the expense of small bits of musical humor and repose. But it’s that kind of piece, and the audience of 150 rose to congratulate the artist’s stamina and exciting virtuosity that amply captured Mussorgsky’s demanding score.

During the afternoon the barrage of often cloudy sound was in contrast to the Series’ last concert with the estimable Alexander String Quartet. Every note and phrase of their all-Beethoven concert was warm and distinct. Vintage House does favor string music over challenging solo piano repertoire.

Violinist Nigel Armstrong, a frequent performer on the Sonoma series, will conclude the season with a Mother’s Day recital on May 11 in the Jacuzzi Winery barrel room.