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Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled ďAn Italian in Paris.Ē This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festivalís 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
RECITAL REVIEW
Green Music Center / Sunday, October 08, 2017
Nikolay Khozyainov, piano

Pianist Nikolay Khozyainov

PIANISTIC COMMAND IN SCHROEDER RECITAL

by
Sunday, October 08, 2017

Nikolay Khozyainovís Oct. 8 debut at the Green Music Centerís Schroeder Hall was one of those rare moments in a young artistís career when a performance approaches perfection. From the opening notes of Beethovenís A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the artist brought the good-sized Sunday afternoon audience along with him on a wonderful journey through a challenging and eclectic program.

Khozyainovís personality shown throughout, although his physical relationship to the piano was reminiscent of Artur Rubinsteinís restrained body movements. For this pianist the playing was all in the fingers and feet, and whose alacrity was on constant display. There were no smudges or over pedaling as all the notes, chords and runs were clearly presented in a well thought out interpretation of each piece.

The Beethoven Sonata seemed to grab the audienceís attention from the first lyrical notes. While his playing was light-fingered in the faster sections, he never sacrificed warmth of instrumental tone. The effect was mesmerizing. His skills as a pianist combined with a youthful willingness to provide his unique interpretations on familiar repertory presaged what was to come.

Schumannís C Major Fantasy, Opus 17, revealed a fresh approach to the 1836 work that is dedicated to Liszt. Choosing sharply contrasting tempos and dynamics, Mr. Khozyainov mounted an interpretation that resisting a common impulse to over-romanticize the composition. Here his fleet fingers produced dramatic effects without giving the impression that he was in any way rushing his performance. At the intermission which followed many audience members were involved in animated conversations and sharing their pleasure with the performances in the first half.

San Francisco composer Gordon Gettyís four short pieces piece followed intermission and was a complete change of pace. Each movement (First Adventure, Raise the Colors, Andantino and Scherzo Pensieroso) is a colorful study in minimalistic composition. Harmonically pleasing each in its own way, the movements were presented by Mr. Khozyainov as little musical picture boxes. Here the playing resembled a master pastelistís knowing application of color and movement to a canvas. It was sonically breathtaking.

The program concluded with the Lisztian pyrotechnics of the 1863 Spanish Rhapsody. While actually not as rhythmically Spanish sounding as other of Lisztís compositions written following his travels to Spain, the Rhapsody offers technical challenges that were laid to waste by the pianistís formidable technical command. His fingers were so fast that he was able to create an almost glissando effect in several passages, and it gave the work an exciting interpretive stamp. Despite the Rhapsodyís technical demands and length, the artistís energy never flagged, and the audience response was loud and long.

There was one encore, Lisztís 1838 transcription of the Overture from Rossiniís 1828 opera William Tell. After the long three-minute introduction, the playing provided a musical adrenaline rush on which to end the concert, and the audience rose to their feet in thunderous applause.