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Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
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.