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Chamber
SPARKLING WIND, STRING, HARP MUSIC AT DEVON HOUSE GARDEN CONCERT
by Abby Wasserman
Saturday, October 9, 2021
Take a mild autumn evening, a garden gazebo with patterned rugs and lit with soft bulbs, shake in a fine chamber ensemble, add a rising new moon, and you have a recipe for the musical delight that violist Elizabeth Prior presented Oct. 9 in her Devon House Garden Concert series. The Marin Terra Li
Recital
AUTHORITATIVE BEETHOVEN SONATA IN KLEIN'S OCCIDENTAL RECITAL
by Terry McNeill
Friday, October 8, 2021
People attending the first Redwood Arts Council Occidental concert in 20 months found a surprise – a luxurious new lobby attached to the Performing Arts Center. It was a welcome bonus to a recital given by pianist Andreas Klein where the music seemed almost as familiar as was the long shuttered hal
Symphony
MOVIE MUSIC ON THE WINDSOR GREEN IN SO CO PHIL SEASON OPENER
by Terry McNeill
Sunday, October 3, 2021
People approaching the Windsor Green bandstand Oct. 3 for the Sonoma County Philharmonic’s season opening concert had some cause for concern. After 18 months of silence would the all-volunteer orchestra have enough musicians for a big movie music program? After all, performers can move, retire, or
Symphony
SANTA ROSA SYMPHONY RETURNS IN TRIUMPH
by Steve Osborn
Sunday, October 3, 2021
It is often the case that a single piece or performer steals the show at a symphony concert, but at the Oct. 3 performance of the Santa Rosa Symphony, the show itself stole the show. The concert opened with a serene 1982 tone poem by Libby Larsen, followed by a masterful performance by soloist Julia
Symphony
TWO WIND SOLOISTS CHARM AT SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, September 26, 2021
The house of music has many rooms. That dusty adage was never truer than when Weill Hall Sept. 25 hosted a roaring New Orleans-style musical party, and less than a day later a mostly sedate Sonoma State University student orchestra performance. Before a crowd of 200 conductor Alexander Kahn led a
Other
CLEARY'S NEW ORLEANS BAND IGNITES PARTY FOR THE GREEN AT SSU
by Terry McNeill
Saturday, September 25, 2021
A dramatic and unique start to the new Green Music’s Center’ 2021-2022 season exploded in a “Party for the Green” Sept. 25, a New Orleans (NO) style commotion featuring Jon Cleary and his Absolute Monster Gentlemen band, inside and outside of Weill Hall. Beginning with a private gourmet dinner in t
GAULIST FLAVOR IN FINAL SF PIANO FESTIVAL CONCERT AT OLD FIRST
by Terry McNeill
Sunday, August 29, 2021
Final summer music festival programs are often a mix of what has come before, with the theme and even a featured composer taking a last stage appearance, with a dramatic wrap up composition. San Francisco’s International Piano Festival defied the norm August 29 with an eclectic French-flavored prog
SPARE DUO PRECEDES MYSTEROUS DUO AT DEN BOER RECITAL
by Terry McNeill
Friday, August 27, 2021
In a departure from usual summer festival fare Julia Den Boer played an August 27 virtual recital in the San Francisco Piano Festival’s 4.5 season with four works, all mostly quiet but all in separate ways insistently demanding of artist and listener. Throughout the 40 minutes there was nary a powe
HARMONIC COMPLEXITY IN PHILLIPS' ALL-GRIFFES RECITAL
by Terry McNeill
Friday, August 20, 2021
Charles Griffes’ piano music is similar to that of Busoni, Reger and even Poulenc, in that there is a sporadic flourish of interest with concerts and scholarly work, then a quick fade into another long period of obscurity. So, it was a delight to have an all-Griffes recital August 20 on the San F
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
RECITAL REVIEW
Oakmont Concert Series / Thursday, March 14, 2013
Nina Tichman, piano

Pianist Nina Tichman

TICHMAN IN COMMAND AT OAKMONT RECITAL

by Terry McNeill
Thursday, March 14, 2013

Attending a Nina Tichman recital is a warmly familiar experience, as the Cologne-based pianist plays nearly everything in the standard literature with a professional command and artistic probity. There is sentiment in her playing but not sentimentality, attention to detail that is never fussy, and interpretations of intriguing music that are sober and thoughtful.

In her fifth recital in the Oakmont Concert Series on March 14, Ms. Tichman programmed a lively first half consisting of unfamiliar Mozart, familiar Brahms and five Chopin Mazurkas. All the pieces had a dance theme, beginning with Mozart’s "Fragment of a Suite," K399, and the once-popular "Eine Kleine Gigue," K574. These are curious works, at first sounding like Bach but harmonically not Bach. They are improvisational, and Ms. Tichman played them with clear contrapuntal lines and incisive phrasing.

Five of Chopin’s magical Mazurkas came next, in B Major (Op. 41, No. 2), F-Sharp Minor (Op. 6, No. 1), F Minor (Op. Post.), C-Sharp Minor (Op. 50, No. 3) and the A-Flat Major Mazurka of Op. 59, No. 2. These small tone poems were lovingly played by Ms. Tichman, the highlights being the sad lament and captivating ending of the F-Sharp Minor, and the languorous C-Sharp Minor. Her touch and chordal voicing was delicate throughout. The final A-Flat Major Mazurka with its deceptive cadences was faultlessly performed, though the last four (dotted) chords were hurried.

Brahms’ 16 short waltzes, which ended the first half, were composed in the 1860s, in versions for four hands, two pianos and solo piano. Ms. Tichman brought a party approach to this perennially happy music, along with a transparent sound and a bit of Schubert in several of the waltzes.

Following intermission Ms. Tichman delivered a rarely-heard version of Schumann’s Symphonic Etudes, Op. 13. The sonic surprise was the inclusion of four of the five seldom-performed studies, interlarded among the standard 12 studies. In remarks to the audience of 150 in Berger Auditorium, Ms. Tichman named Brahms as the arranger of the studies. The additions make the work long; but it is a lovely length, where each mood and figuration varies considerably.

The opening theme was played mezzo forte (though often performed with an eerie pianissimo) and seamlessly moved into the demanding variations. Ms. Tichman chose four of the five posthumous variations, omitting the third and dropping the repeats in the first (Andante) and fourth (Allegretto). She lavished exceptional care on these short gems, overcoming a wide range of pianistic hurdles. Her staccato chord technique and wide skips for the left hand were accurate, and the perpetual motion segments posed no difficulty to her deft and polished technique. She doesn’t have a big sound, but it’s big enough.

The brilliant and arduous final study, an expansion of the march format in Schumann’s Op. 9 "Carnaval," was performed taking the two initial short repeats and with dramatic sforzandos and a driving momentum to a powerful finish.

No encore was offered, and applause was subdued, unexpected given the beauty and authority of the performances. A sixth engagement for this estimable artist at Oakmont would be welcome.