Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
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 Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s 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.

Khozyainov’s personality shown throughout, although his physical relationship to the piano was reminiscent of Artur Rubinstein’s 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 audience’s 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.

Schumann’s 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 Getty’s 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 pastelist’s 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 Liszt’s compositions written following his travels to Spain, the Rhapsody offers technical challenges that were laid to waste by the pianist’s 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 Rhapsody’s technical demands and length, the artist’s energy never flagged, and the audience response was loud and long.

There was one encore, Liszt’s 1838 transcription of the Overture from Rossini’s 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.