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SIX GUITARISTS IN UNIQUE NAPA RECITAL
by Gary Digman
Sunday, July 25, 2021
The first Napa Valley Guitar Festival was held at Napa’s First Presbyterian Church July 25, and featured performances from six classical guitarists. The Church is an iconic structure in downtown Napa, its huge white presence dominating the scene, and the white theme continues inside punctuated by be
Chamber
CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
Chamber
EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
CHAMBER REVIEW

Violinist Nigel Armstrong

ARMSTRONG BRINGS DOWN THE HOUSE

by Terry McNeill
Sunday, March 25, 2012

Local boy makes good was the operative theme March 26 when violinist Nigel Armstrong played a recital before a jammed Andrews Hall in downtown Sonoma, the event produced by the Sonoma Chamber Music Society. From Mr. Armstrong’s initial entrance with pianist Marilyn Thompson to a final raucous encore, the audience seemed to hang on every note and bodily movement of the young violinist.

The first half, consisting of Beethoven’s “Spring Sonata” and the Debussy Sonata, was problematical. Andrews Hall is not a kind acoustical space, with its high ceiling, plaster walls and surprisingly almost zero reverberation. The result was heavy piano dominance. Frequently one saw Mr. Armstrong’s flashing bow but not enough sound from him, especially in the scherzo and the finale (Rondo) pizzicato. Tempos in the Spring Sonata were moderate, the interpretation fluent and impressive in the long line of the Adagio, but on the whole a routine performance without special flair.

Debussy’s 1917 masterwork in G Minor, his last fully completed work, received some lovely playing that underscored its harmonic ambiguities. Mr. Armstrong’s soft playing in the opening Allegro Vivo was lovely, and in the high tessitura of the "Intèrmede" his vibrato widened but varied little, the ending soaring over a hushed crowd that included three rows of stage seats.

In a program change, the violinist skipped Ernst’s “Last Rose of Summer” variations and played the four-movement Ysäye solo Sonata No 2. Mr. Armstrong’s affinity with virtuoso works was on display in this composition, with many quotes from Bach (Third Partita) and the "Dies Irae" theme. The Sarabande was especially bouncy, the pizzicato and double stop effects performed with clean articulation. Mr. Armstrong played the "Les Furies" finale letting in a lot of air, the short motifs interrupted by rests and vigorously accented. It was a highlight of the afternoon.

Ms. Thompson then returned to the piano, whose lid had gone from short stick to no stick, and played Faure’s fetching Op. 75 Andante with the violinist. Instrumental balance had markedly improved, and the performance was sui generis Faure. Though rarely programmed, the piece is instantly recognizable, and it was performed without score, as were all the pieces in the second part. Faure's melancholic loveliness mated well with the following Tchaikovsky Op. 42 Melody, the third of three short pieces from an 1878 Suite the composer wrote at his patron’s country estate. The interpretation lacked rhythmic flexibility as musical schmaltz in the Melody is highly desirable!

Mr. Armstrong’s signature piece, Saint-Saëns’ "Introduction and Rondo Capriccioso," concluded the formal program. It was originally written for violin and orchestra, so the piano transcription is a daunting combination of fiery instrumental skips and slides for the fiddle, and it drew from the Ms. Thompson her most forceful and bass heavy playing of the program. A thunderous standing ovation was the result.

But Mr. Armstrong was not done yet, and in an encore anticipated by many in the hall he played Corigliano’s "Stomp." This solo work was commissioned by the 14th Tchaikovsky International Violin Competition in 2011, to be played by all competitors, with the sheet music received by each shortly before the Moscow Competition. It’s a whirlwind of dissonant notes and chopped phrases, and to everyone’s delight involved briefly playing the violin behind the back and resounding right-food stomps in various sequences. Intoxicating!

Needless to say, it brought down the house and the artist reveled in the warm affection and excitement his playing brought to his hometown fans.

Robert Hayden contributed to this review.