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Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
RECITAL REVIEW
Santa Rosa Junior College Chamber Concerts / Sunday, October 19, 2014
Anton Nel, piano

Pianist Anton Nel

IMPECCABLE ARTISTIC TASTE IN ANTON NEL SRJC RECITAL

by Terry McNeill
Sunday, October 19, 2014

Reporting on a recital by the Austin-based pianist Anton Nel is a predictably satisfying task. His playing Oct. 19 in SRJC’s Newman Auditorium mirrored a recital on the same stage nearly two years ago and showcased a high level of professionalism and artistry.

Beginning with Mozart’s D Major "Duport Variations," K. 573, Mr. Nel continued just where he left off in 2012, offering an urbane and witty performance. A cornucopia of small details--just a touch of pedal at phrase endings, pearly scales and a smooth cross-hand technique--provided shape to the various touches the pianist used. In this late set of variations, written two years before his untimely death, Mozart radically changes Duport’s theme instead of merely embroidering it. Mr. Nel’s performance was flawless.

Five Debussy Preludes from the 12 of Book II came next, beginning with the sharp rhythms of General Levine – Eccentric. The pianist emphasized the dynamic extremes, very different from the lyricism of Bruyères and the scherzo-like mood changes of the insouciant water sprite Ondine.

The imaginative La terrasse des audiences du clair de lune demonstrated Mr. Nel’s sovereign control over chordal weighting and subtle thematic underlinings. The concluding Feux d’artifice had glittering arpeggios and trills and explosive chords, frenetic when needed to convey a sound of Parisian fireworks. It was the most difficult of the set but seemed to be child’s play under Mr. Nel’s commanding pianistic control.

Can this artist play at any level below magisterial? Not at this recital. The first half’s concluding A Flat Chopin Ballade was a case study in Romantic pianism of repose and space. Using careful pedaling, he drew a burnished sound from the instrument. Nothing was out of place in this most lyrical of the four great Ballades. Mr. Nel eschewed pianistic heroics and extended ritards. His was a performance of impeccable conception and taste.

This reviewer was unable to hear the sole second half work, Schubert’s mighty B Flat Sonata, D. 960, but others reported that it was a transcendent performance.