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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
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.