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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
Green Music Center / Friday, June 26, 2015
Natasha Paremski, piano; Malcolm Matthews, organ

Pianist Natasha Paremski

INTREPID VIRTUOSITY IN PAREMSKI'S BRAHMS VARIATIONS

by Terry McNeill
Friday, June 26, 2015

Sonoma County organist James Harrod contributed the organ work analysis in this review.

Pianist Natasha Paremski had the stellar role June 26 in the third Chamberfest program in Schroeder Hall, beginning with Beethoven’s A Flat Sonata, Op. 110. Classical Sonoma was unable to review the Sonata’s performance, said by many in the packed hall to be seminal and inspiring.

Following the Beethoven, organist Malcolm Matthews played three variations of the German Advent hymn “Now Comes the Savior of the Nations” (Nun komm der Heiden Heiland) by Bach on the Schroeder Hall Brombaugh tracker organ.

Mr. Matthews first played the hymn itself, quietly, with the melody sounding on the throaty Krummhorn reed stop of the Rückpositiv. Second, he played the familiar choral variation from “The Little Organ Book” (Das Orgelbüchlein), BWV 599. Last, he performed a far more intricate choral prelude on the same theme from the “18 Great Chorale Preludes,” BWV 661. In this variation, alternating motives are played with the hands on the great manual (Hauptwerk) while the melody is played with the feet using the powerful reed of the pedal division. Mr. Matthews performed each of these settings smoothly and serenely, suggesting intimate friendship with the music and with a clear, but subtle Baroque articulated touch. It was very nicely done.

Not to be outdone by an organist, Ms. Paremski played the Bach-Busoni version of Nun komm der Heiden Heiland later in the program. This was played reverently and sensitively and was very satisfying to hear.

Also performed was an unusual arrangement for piano and organ of three familiar choral preludes from Brahms’ “Eleven Chorale Preludes for the Organ,” Op. 122. The music was divided into fragments in dialogue between the two instruments, almost a “question and answer” format with a postlude character. The result had some lovely moments but not a lasting effect. A video camera and screen in the organ loft depicted the organist’s hands at the two-manual instrument.

Concluding the afternoon and clearly the concert’s highlight was Brahms’ Variations and Fugue on a Theme of Handel, Op. 24. Written in 1862, the Handel Variations (along with sets by Beethoven, Mendelssohn and Reger’s Bach and Telemann Variations) is the greatest work of the type in the repertoire.

Natasha Paremski has made significant changes in her playing since her last Sonoma County appearance in 2012. Still present are the easy virtuosity, big tone and often insouciant in platform manner, but she has added greater control of a large work’s structure and a bevy of interesting inner voices. The pianist began with long trills in the theme and played in a subdued manner until the second Variation, the first time in the piece that it sounds like Brahms. Variation contrast was abundant, and Ms. Paremski underscored this not only by dynamic contrast but also by either slight pauses between the variations or deftly connecting them with the damper pedal in an enharmonic modulation.

As each Variation unfolded Ms. Paremski adopted various touches that gave individuality, even with continual booming sforzandos and in Variation 25 a tempo that almost pushed the music off the rails. Almost. She did not double the left hand B-Flat octave before beginning the fugue, heard in the great recordings of Petri and Solomon. The famous 108-bar fugue was played majestically, intermingling fugal and developmental techniques to produce a weighty resonance, aided by the piano’s massive sonority in the small Schroeder Hall’s acoustically impeccable space.

The performance was easily the finest North Bay Brahms-Handel in memory, and drew a roaring ovation that brought the artist to the front of the stage, holding her right hand to her heart in acknowledgement of the acclaim.