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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
Music at Oakmont / Thursday, October 17, 2013
Soheil Nasseri, piano

Pianist Soheil Nasseri

MORE WORDS THAN NOTES

by Terry McNeill
Thursday, October 17, 2013

Soheil Nasseri opened the 23rd Music at Oakmont season Oct. 17 in a piano recital where words from the artist nearly overwhelmed the offered music.

Choosing an all-Beethoven program, Mr. Nasseri preceded the A Major Sonata, Op. 101, with words of personal introduction and humorous anecdotes. The wonderful sonata itself, from Beethoven's last period, was played rather perfunctorily, with plodding tempos and a lack of rhythmic interest. The artist described a non-musical program for the work, but the performance never took off.

Seven more minutes of commentary from the stage preceded the G Major Sonata, Op. 31, No. 1, but here the playing became interesting, with contrasting dynamics and contrapuntal clarity. Nasseri is not a colorist, but he has a transparent sound and shapely phrasing. In the second movement, his right-hand scale passages were lucid.

After finishing the second sonata prior to intermission, Nasseri spoke to the audience in a manner unique in my history of concert going. He said he would be signing CDs by the front door and invited people to chat with him over the interval about his career.

Following intermission, Nasseri spoke again to the audience and then played Beethoven's 11 short Bagatelles from Op. 119. His playing mostly caught the intriguing character of these miniatures with quickly shifting moods. It was concise and direct playing, revealing the composer's subtle humor and small-form creativity. Number six was a jewel, with a restful introduction giving way to convincing pianistic agitation.

Before concluding the program with Beethoven's mighty C Major Sonata, Op. 53 ("Waldstein"), Nasseri asked if anyone had questions about him and his career. Three people did. The subsequent playing was in all ways adequate but small-scaled, the initial tasteless small ritards lessening the momentum of the opening Allegro con Brio. Nonetheless, Nasseri effectively continued an interpretation based on minimum pedal and middle-of-the road tempos. A small memory lapse (everything was played without score) came just before the ending. The short middle movement was performed with care and excellent balance between the hands, the overly bright top end of the piano carrying the pianissimo chords well.

Nasseri played the Rondo finale in the conventional dreamy way and took the pedal in the opening 12 bars to stress the fundamental bass notes. It was some of the best playing of the day, although orthodox throughout, with little left-hand voicing or a big sound. Nasseri did lavish more tone color in this remarkable movement, and in the famous ascending and descending octave passages, he chose a seco touch rather than glissandi.

There was no encore.