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Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
Chamber
GOOD OLD WINE IN GOOD OLD BOTTLES AT VOM CONCERT
by Jeff Chan
Saturday, February 11, 2017
February 11 was the first day of sunshine in Sonoma County after nine days of rain, but a nearly full house of music lovers chose to spend their afternoon in Schroeder Hall instead of being outside, soaking up the warm sun. There were two equally compelling reasons to attend this concert, which fea...
Symphony
FUNG TRIUMPHS IN SHOSTAKOVICH CONCERTO WITH VSO
by Elizabeth Warnimont
Sunday, January 29, 2017
The Vallejo Symphony Orchestra presented their season’s second concert Jan. 29 in Vallejo’s Hogan Auditorium, devoted to early Haydn, middle Shostakovich and Beethoven’s ground-breaking “Eroica” Symphony. In remarks to the audiences of nearly 400, Conductor Marc Taddei characterized Haydn’s Sympho...
Chamber
ENSEMBLE PERFECTION IN KLR TRIO'S 40TH ANNIVERSARY CONCERT
by Terry McNeill
Sunday, January 29, 2017
Longevity has its place in classical music. Composers and especially conductors live a long time, and venerable piano trios can linger for years. One can recall the great Cortot-Thibaud-Casals staying on the international scene for decades, and more recently Stern-Istomin-Rose, Oistrakh-Oborin-Knu...
Symphony
SUBLIME MOZART CLARINET CONCERTO TOPS SO CO PHIL CONCERT
by Terry McNeill
Saturday, January 28, 2017
Sonoma County Philharmonic’s long history of featuring soloists from the neighborhood struck gold again Jan. 28 with a ravishing Mozart Clarinet Concerto performance with soloist Roy Zajac. Before an audience of 300 the Santa Rosa High School hall the A Major Concerto (K. 626) unfolded gracefully w...
Recital
RISKY SPEED IN POTENT LUO RECITAL
by Terry McNeill
Sunday, January 22, 2017
Each half of pianist Wei Luo’s Schroeder Hall recital Jan. 22 contained beguiling interpretations and consummate technical command of Shostakovich and Albeniz works, but each half finished with less than exalted playing. Two of Shostakovich’s Op. 87 Preludes and Fugues opened the recital, from the ...
Recital
COLORFUL SCHUBERT AND CHOPIN WARM WEILL HALL IN AX RECITAL
by Nicki Bell
Friday, January 20, 2017
On a stormy winter evening Jan. 20 a rainbow of colorful Schubert and Chopin music came from the fingers, feet and heart of pianist Emanuel Ax.  Playing at the Weill Hall for the first time, this recital was a tribute to beauty in the arts. It conveyed the value and glory of balance, lyricism and el...
CHAMBER REVIEW
Sonoma Classical Music Society / Sunday, March 25, 2012
Nigel Armstrong, violin. Marilyn Thompson, piano.

Violinist Nigel Armstrong

ARMSTRONG BRINGS DOWN THE HOUSE

by Terry McNeill
Sunday, March 25, 2012

Local boy makes good was the operative theme March 26 when violinist Nigel Armstrong played a recital before a jammed Andrews Hall in downtown Sonoma, the event produced by the Sonoma Chamber Music Society. From Mr. Armstrong’s initial entrance with pianist Marilyn Thompson to a final raucous encore, the audience seemed to hang on every note and bodily movement of the young violinist.

The first half, consisting of Beethoven’s “Spring Sonata” and the Debussy Sonata, was problematical. Andrews Hall is not a kind acoustical space, with its high ceiling, plaster walls and surprisingly almost zero reverberation. The result was heavy piano dominance. Frequently one saw Mr. Armstrong’s flashing bow but not enough sound from him, especially in the scherzo and the finale (Rondo) pizzicato. Tempos in the Spring Sonata were moderate, the interpretation fluent and impressive in the long line of the Adagio, but on the whole a routine performance without special flair.

Debussy’s 1917 masterwork in G Minor, his last fully completed work, received some lovely playing that underscored its harmonic ambiguities. Mr. Armstrong’s soft playing in the opening Allegro Vivo was lovely, and in the high tessitura of the "Intèrmede" his vibrato widened but varied little, the ending soaring over a hushed crowd that included three rows of stage seats.

In a program change, the violinist skipped Ernst’s “Last Rose of Summer” variations and played the four-movement Ysäye solo Sonata No 2. Mr. Armstrong’s affinity with virtuoso works was on display in this composition, with many quotes from Bach (Third Partita) and the "Dies Irae" theme. The Sarabande was especially bouncy, the pizzicato and double stop effects performed with clean articulation. Mr. Armstrong played the "Les Furies" finale letting in a lot of air, the short motifs interrupted by rests and vigorously accented. It was a highlight of the afternoon.

Ms. Thompson then returned to the piano, whose lid had gone from short stick to no stick, and played Faure’s fetching Op. 75 Andante with the violinist. Instrumental balance had markedly improved, and the performance was sui generis Faure. Though rarely programmed, the piece is instantly recognizable, and it was performed without score, as were all the pieces in the second part. Faure's melancholic loveliness mated well with the following Tchaikovsky Op. 42 Melody, the third of three short pieces from an 1878 Suite the composer wrote at his patron’s country estate. The interpretation lacked rhythmic flexibility as musical schmaltz in the Melody is highly desirable!

Mr. Armstrong’s signature piece, Saint-Saëns’ "Introduction and Rondo Capriccioso," concluded the formal program. It was originally written for violin and orchestra, so the piano transcription is a daunting combination of fiery instrumental skips and slides for the fiddle, and it drew from the Ms. Thompson her most forceful and bass heavy playing of the program. A thunderous standing ovation was the result.

But Mr. Armstrong was not done yet, and in an encore anticipated by many in the hall he played Corigliano’s "Stomp." This solo work was commissioned by the 14th Tchaikovsky International Violin Competition in 2011, to be played by all competitors, with the sheet music received by each shortly before the Moscow Competition. It’s a whirlwind of dissonant notes and chopped phrases, and to everyone’s delight involved briefly playing the violin behind the back and resounding right-food stomps in various sequences. Intoxicating!

Needless to say, it brought down the house and the artist reveled in the warm affection and excitement his playing brought to his hometown fans.

Robert Hayden contributed to this review.