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Choral and Vocal
SILVER ANNIVERSARY BACH RECITAL AT INCARNATION'S EVENSONG SERVICE
by Terry McNeill
Sunday, December 4, 2022
Symphony
JOY, LOVELY DIVINE SPARK!
by Steve Osborn
Sunday, December 4, 2022
Other
DINOVA PIANISM CHARMS SATED AUDIENCE AT J-B MARIN RECITAL
by Terry McNeill
Sunday, November 20, 2022
Symphony
SHOSTAKOVICH 5TH A TRIUMPH FOR SSU ORCHESTRA
by Terry McNeill
Saturday, November 19, 2022
Choral and Vocal
SONOMA BACH'S WORLD IN SCHROEDER HALL CONCERT
by Pamela Hicks Gailey
Saturday, November 19, 2022
Recital
ASSERTIVE PIANISM IN YAKUSHEV'S OCCIDENTAL RECITAL
by Terry McNeill
Sunday, November 13, 2022
Symphony
SPARKLING PONCHIELLI AND IMPOSING SCHUMAN AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 12, 2022
Chamber
CONTRASTS GALORE AT THE VIANO'S CONCERT AT THE 222
by Terry McNeill
Friday, November 11, 2022
Symphony
SANTA ROSA SYMPHONY STOMPS ALONG TO MARSALIS VIOLIN CONCERTO
by Steve Osborn
Sunday, November 6, 2022
Choral and Vocal
TRAVELS WITH SEBASTIAN IN SONOMA BACH'S OPENER IN SCHROEDER
by Pamela Hicks Gailey
Saturday, October 29, 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.