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EXOTIC RUSSIAN MUSIC FEATURED IN MV PHIL CONCERT
by Abby Wasserman
Thursday, May 19, 2022
Symphony
SANTA ROSA SYMPHONY PREMIERES DAUGHERTY SKETCHES OF SONOMA COUNTY
by Steve Osborn
Sunday, May 8, 2022
Chamber
BRAHMS-ERA TRIOS HIGHLIGHT OAKMONT CHAMBER CONCERT
by Nicholas Xelenis
Thursday, May 5, 2022
Chamber
CHAMBER GEMS OF BRAHMS IN TRIO NAVARRO'S SCHROEDER CONCERT
by Judy Walker
Sunday, May 1, 2022
Recital
UNIQUE ELEGANCE IN GALBRAITH GUITAR RECITAL
by Gary Digman
Friday, April 29, 2022
Symphony
VSO'S ELEGANT PASTORAL SYMPHONY SHINES IN EMPRESS RETURN
by Terry McNeill
Sunday, April 24, 2022
Choral and Vocal
A SPIRITUAL FAURE REQUIEM IN GOOD FRIDAY CANTIAMO CONCERT
by Pamela Hicks Gailey
Friday, April 15, 2022
Symphony
LUSH ORCHESTRA PLAYING IN SO CO PHIL-LLOYD MEMORIAL CONCERT
by Terry McNeill
Sunday, April 3, 2022
Chamber
DISPARATE TRIOS IN HOLLYWOOD PIANO TRIO'S 222 CONCERT
by Terry McNeill
Saturday, April 2, 2022
Chamber
TANGO IMMERSION IN MILL VALLEY CONCERT
by Abby Wasserman
Sunday, March 27, 2022
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 SRJCís Newman Auditorium mirrored a recital on the same stage nearly two years ago and showcased a high level of professionalism and artistry.

Beginning with Mozartís 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 Duportís theme instead of merely embroidering it. Mr. Nelís performance was flawless.

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

The imaginative La terrasse des audiences du clair de lune demonstrated Mr. Nelís sovereign control over chordal weighting and subtle thematic underlinings. The concluding Feux díartifice 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 childís play under Mr. Nelís commanding pianistic control.

Can this artist play at any level below magisterial? Not at this recital. The first halfís 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, Schubertís mighty B Flat Sonata, D. 960, but others reported that it was a transcendent performance.