Choral and Vocal
SPARKLING ART SONG AND PIANO SOLO RECITAL AT THE 222 GALLERY
by Pamela Hick Gailey
Saturday, September 28, 2024
Symphony
MOZART THE SUBLIME IN UKIAH SYMPHONY'S CONCERT
by Terry McNeill
Sunday, September 22, 2024
Symphony
POTENT TCHAIKOVSKY INTERPRETATION IN PHILHARMONIC'S 25TH ANNIVERSARY OPENER
by Terry McNeill
Saturday, September 21, 2024
Recital
SPANISH MUSIC AT SPRING LAKE VILLAGE
by Terry McNeill
Wednesday, September 18, 2024
Chamber
BRASS OVER BRIDGES AT SPRING LAKE SERIES
by Terry McNeill
Wednesday, August 21, 2024
CALLEJA AND SANIKIDZE CHARGE THE ATMOSPHERE IN WEILL WITH SUMMER FAVORITES
by Pamela Hicks Gailey
Saturday, August 3, 2024
ENERGETIC SINGING IN CALLEJA/SANIKIDZE WEILL RECITAL
by Mark Kratz
Saturday, August 3, 2024
MUSICAL CALM IN A WORLD OF POLITICAL IDIOTS
by Terry McNeill
Friday, August 2, 2024
Chamber
SUNBEAMS ON THE FESTIVAL DEL SOLE FROM THE FAR NORTH
by Terry McNeill
Thursday, August 1, 2024
Chamber
A FAURE TO REMEMBER
by Terry McNeill
Thursday, July 25, 2024
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Nigel Armstrong and Elizabeth Dorman Jan. 5 |
NATIVE VIRTUOSITY
by Terry McNeill
Saturday, January 5, 2013
Violinist Nigel Armstrong is becoming a virtuoso staple for North Bay concerts, having played locally over the past three years in private homes, with symphonic groups and in several formal recitals. January 5 found him giving a benefit recital for the Sonoma Classical Music Society in his Sonoma hometown in the west side Kenny residence. It was an exceptional afternoon of music making.
With pianist Elizabeth Dorman, Mr. Armstrong opened with Beethoven’s Romance in G Major, a 10-minute work usually heard with orchestra. The piano reduction worked well, and Ms. Dorman was attentive to the soloist’s suave melodic line, carefully matching a lovely ascending and descending violin line at the midpoint.
The afternoon’s chief work was Schumann’s A Minor Sonata, Op. 105, a surging romantic piece from 1851 that Mr. Armstrong was playing for the first time in public. The warm partnership of the Beethoven Romance continued throughout this restless Sonata. The many modulations in the opening movement (“with passionate expression”) were deftly highlighted by the violinist, and his vibrato was wide and often pulsating. The short intermezzo was well played, ending in a soft series of pizzicato violin notes coupled with expressive, almost somber chords from the piano. Schumann’s restless energy burst forth in the finale. The duo performed the sudden dynamic contrasts pungently, and the rush to a tragic end moved the audience of 50 to loud applause.
Two movements from Bach’s solo Third Sonata (BWV 1005) began the second half. Mr. Armstrong played the opening Adagio soulfully and the long three-part fugue masterfully. A Bach work for solo piano came next, the popular B Flat Partita (BWV 825) with seven brief movements. Ms. Dorman’s committed playing was often too loud, and in the flowing first movement arabesques her rhythms were unstable. She does enjoy extravagant ornamentation on repeats but has yet to acquire much color in her playing.
Ending the recital were Brahms’ Hungarian Dances Four and Five in the Joachim arrangements. Every bit of these virtuosic and gypsy-like compositions was played with soaring vitality by Mr. Armstrong. He often leaned down to his pianist to underscore a phase, beginning with a nod or a wave of his fleet bow tip. The double and sporadic triple stops were faultless.
As an encore treat for violin buffs, Mr. Armstrong played Ernst’s “Variations on The Last Rose of Summer,” the sixth of his Polyphonic Etudes from the 1860s. Curiously, the final two variations and finale were omitted. But no matter, what Mr. Armstrong played was coin of the fiddler’s realm and uniquely thrilling.
The Sonoma Classical Music Society’s spring season of three more concerts can be seen at www.sonomaclassical.org.
Bronislaw Irving contributed to this review
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