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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

Pianist Anton Nel

IMPECCABLE ARTISTIC TASTE IN ANTON NEL SRJC RECITAL

by Terry McNeill
Sunday, October 19, 2014

Reporting on a recital by the Austin-based pianist Anton Nel is a predictably satisfying task. His playing Oct. 19 in SRJC’s Newman Auditorium mirrored a recital on the same stage nearly two years ago and showcased a high level of professionalism and artistry.

Beginning with Mozart’s D Major "Duport Variations," K. 573, Mr. Nel continued just where he left off in 2012, offering an urbane and witty performance. A cornucopia of small details--just a touch of pedal at phrase endings, pearly scales and a smooth cross-hand technique--provided shape to the various touches the pianist used. In this late set of variations, written two years before his untimely death, Mozart radically changes Duport’s theme instead of merely embroidering it. Mr. Nel’s performance was flawless.

Five Debussy Preludes from the 12 of Book II came next, beginning with the sharp rhythms of General Levine – Eccentric. The pianist emphasized the dynamic extremes, very different from the lyricism of Bruyères and the scherzo-like mood changes of the insouciant water sprite Ondine.

The imaginative La terrasse des audiences du clair de lune demonstrated Mr. Nel’s sovereign control over chordal weighting and subtle thematic underlinings. The concluding Feux d’artifice had glittering arpeggios and trills and explosive chords, frenetic when needed to convey a sound of Parisian fireworks. It was the most difficult of the set but seemed to be child’s play under Mr. Nel’s commanding pianistic control.

Can this artist play at any level below magisterial? Not at this recital. The first half’s concluding A Flat Chopin Ballade was a case study in Romantic pianism of repose and space. Using careful pedaling, he drew a burnished sound from the instrument. Nothing was out of place in this most lyrical of the four great Ballades. Mr. Nel eschewed pianistic heroics and extended ritards. His was a performance of impeccable conception and taste.

This reviewer was unable to hear the sole second half work, Schubert’s mighty B Flat Sonata, D. 960, but others reported that it was a transcendent performance.