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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
STYLISH HAYDN QUARTETS CLOSE GREEN ROOM SERIES
by Terry McNeill
Sunday, May 9, 2021
Completing the Green Music Center’s spring series series of “Green Room” virtual concerts, the St. Lawrence String Quartet played May 9 a lightweight program of two Haydn works. Lightweight perhaps, but in every way satisfying. The G Major Quartet (Op. 76, No.1) began the music that was supplement
RECITAL REVIEW

Barbara Nissman On The Oakmont Stage June 14

VIRTUOSIC PROKOFIEV AND LISZT IN NISSMAN'S OAKMONT RECITAL

by Terry McNeill
Thursday, June 14, 2012

Barbara Nissman’s pianism is best heard on her own terms, with little comparison to current performance practices. This was in evidence June 14 when the venerable West Virginia artist returned to Sonoma County, playing a long recital in the Oakmont Concert Series before 160 in Berger Auditorium.

The recital was long because of the artist’s spoken introduction (both incisive and silly) and because the program was packed with pieces associated with Ms. Nissman’s lengthy career, beginning with study under the Bartok specialist Gyorgy Sandor.

Liszt's transcription of Bach's A Minor Prelude and Fugue (BWV 543) opened the program, a propitious choice. Though piano transcriptions of Bach's organ works from d'Albert, Petri and Busoni were once popular, the Liszt work is the one currently heard and Ms. Nissman gave it a wonderful performance, stressing contrapuntal clarity over sonority. The artist lacks a big sound at the piano and during the entire concert there wasn't a true fortissimo. No matter, clarity prevailed through the repetitive phrasing of the Prelude and there were some beguiling staccato touches in the Fugue. An auspicious and captivating beginning.

Ms. Nissman is billed as a Romantic pianist but Beethoven’s C-Sharp Minor Sonata (Moonlight) was the antithesis of a romantic interpretation, and the cantabile first movement was played fast and almost without rubato, the shift pedal used throughout. The sprightly rhythms of the middle Allegretto were put into high relief with sharp changes in volume and bouncy clarity. In the finale (Presto Agitato) the broken chords were played masterfully and the entire movement had drama, albeit without the last ounce of power.

Six of Prokofiev's Visions Fugitives (Op. 22) and his Op. 28 Third Sonata closed the first half. Ms. Nissman has long been identified with the Russian's compositions and played everything superbly, eliciting in the Visions, each fewer than two minutes, disparate and complex pianistic vignettes. In No.1 Ms. Nissman found a droll, wandering scene, and the nostalgia of the eighth. Toccata rhythms of percussive dissonance were brought out in No. 14, and a Satie-like lethargy of the concluding No. 1.

Prokofiev’s one-movement Op. 28 Sonata has always been a Nissman specialty and she began at a fast clip, the bright and dry piano sound ideal for the driving tempest of the work. Here the artist and composer became one and I cannot remember a better performance of this pointillist and virtuosic Sonata. The accelerando in the coda was potent, the bravura intoxicating.

Three Rachmaninoff Preludes, all in a variant of G, began the second half. The popular and bucolic G major from Op.32 had many individual touches and a unique rush in the concluding bars. The G-Sharp Minor Prelude, from the same set, drew an evocative sound of troika bells and the pianist stressed the cool colors of the work, long associated with Horowitz. From Op. 23, the concluding G-Flat Major Prelude had the requisite lyricism but was also a prosaic in phrasing, needing a touch of repose.

The afternoon's major work, Liszt's B Minor Sonata, surprisingly closed the recital as it usually closes the first half. Quiet endings are seldom part of a final work in a piano recital. Santa Rosa has recently heard the Sonata in the hands of Bronfman, Ohlsson, Hewitt, Spooner and also eight years ago from Ms. Nissman in SRJC's Newman Auditorium. Her performance hasn't changed much, and was again individual in the approach to exhibiting reserved dynamics, attention to structure at the expense of heroics and brilliant scale passages. The artist sporadically sounded frenetic in rapid octaves (forceful but not majestic) but they never failed her, and the velocity of the fugue was compelling. Ms. Nissman worked hard to get color from the hall’s piano treble, with some success, and her legato playing was seductive. In sum, and unconventional and at times perplexing reading of this great work that on balance succeeded because of her strong individual vision.

Applause was large but not loud, but Ms. Nissman was determined to perform Ginastera, choosing the final two of the Dances Argentinas (Op.2) as encores. Associated with the prolific Argentine composer for decades, the pianist played the popular Danza de la Moza donosa and Danza del gaucho matero with palpable energy and attractive guitar-like rhythms. As in the Prokofiev, identification with the works was total and the playing ne plus ultra.