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Choral and Vocal
EARLY CHRISTMAS SEASON TRIUMPH FOR 24 ANGELS IN WEILL
by Sonia Morse Tubridy
Sunday, November 27, 2016
Weill Hall Nov. 27 was packed with an audience of young and old excitedly waiting for an early holiday concert by the Vienna Boys Choir, and this esteemed Choir is a five-hundred year institution which is based in a school of 100 choristers. Four touring groups divide their time between studying and...
Symphony
SENSUAL OPERATIC BON BONS AT SO CO PHIL CONCERT
by Alan Bloom
Saturday, November 19, 2016
Music Director Norman Gamboa never fails to come up with interesting programs for his Sonoma County Philharmonic concerts. It was all opera music for the second concert set of the 2016-2017 season Nov. 19 in the Santa Rosa High School Auditorium. From the romantic opening swells of the Berlioz’ Ov...
Symphony
ORION WEISS TAKES BARTÓK AT THE SPEED OF LIGHT
by Steve Osborn
Sunday, November 06, 2016
Gifted pianists are everywhere these days, but few have the prodigious speed, stamina, and musicality of Orion Weiss. He exhibited all these qualities in a memorable rendition of Béla Bartók’s second piano concerto with the Santa Rosa Symphony Nov. 6 in Weill. Weiss is a no-nonsense pianist. He sea...
Symphony
TADDEI TRIUMPH IN VSO SEASON OPENING CONCERT
by Elizabeth Warnimont
Sunday, October 30, 2016
Vallejo Symphony Orchestra's guest soloist Sara Davis Buechner wowed her audience Oct. 30 in a stellar performance of Prokofiev’s Third Piano Concerto, the second of three pieces comprising the symphony’s season-opening performance in Hogan Auditorium and the debut of its new music director, Marc Ta...
Chamber
TASTY TRIO NAVARRO CONCERT WITH SRS WIND VIRTUOSI
by Terry McNeill
Sunday, October 23, 2016
SSU’s resident Trio Navarro has a long history of presenting diverse programs in the piano trio format, with occasional out-of-area artists joining the mix. This familiar configuration was altered in an Oct. 23 Schroeder Hall concert with the deletion of the violin part and the addition of two ster...
Recital
SOUND AND FURY IN MATSUEV WEILL HALL RECITAL
by Terry McNeill
Saturday, October 22, 2016
A touring virtuoso’s reputation often precedes him or her, and usually that’s a good thing. The reputation of a Renée Fleming or a Yo Yo Ma can guarantee a sold out hall, and possibly a great concert. But not always, and so there was some concern at Russian pianist Denis Matsuev’s Oct. 23 Weill re...
Chamber
TRIO VALTORNA'S JAUNTY EXPLORATIONS AT OAKMONT CONCERT
by Terry McNeill
Thursday, October 20, 2016
New York’s Trio Valtorna came to Music at Oakmont’s Berger Auditorium stage Oct. 20 with three disparate works, and in two of them instrumental sonic continuity was not a main goal. But it was in the second half’s seminal piece, Brahms’ E-Flat Major Trio (Op. 40) for horn, violin and piano, that br...
Recital
ARTISTRY AND AMPLE RELAXED CHARM AT PERLMAN RECITAL IN WEILL
by Terry McNeill
Thursday, October 20, 2016
Itzhak Perlman has fashioned a career that encompasses more than virtuoso violin performance, and includes teaching, narrating musical documentaries, score editing, humanitarian projects, charity events and an often an easy “ah shucks” demeanor that is always beguiling. With pianist Rohan de Silva ...
Recital
MORGAN'S ORGAN VIRTUOSITY SHINES IN ALL BACH RECITAL IN SCHROEDER
by James Harrod
Sunday, October 16, 2016
Robert Huw Morgan, Stanford University’s consummate organist, returned to the Green Music Center’s Schroeder Hall October 16 to play a thrilling recital of great Bach organ music from mostly Bach’s Cöthen period. Professor Morgan’s eclectic program included the Prelude and Fugue in E Flat Major, B...
Symphony
BAROQUE NO MORE IN STIRRING BEETOVEN CONCERT IN WEILL
by Terry McNeill
Saturday, October 15, 2016
Seasoned listeners for Beethoven’s symphonies and concertos know that interpretations can follow contemporary fashion, from the heroic and sonorous grand manner readings of the late 19th and early 20th centuries to the architectural approach after WW II, and even conductor Roger Norrington’s recent ...
RECITAL REVIEW
Concerts Grand / Sunday, April 15, 2012
Natasha Paremski, piano

Natasha Paremski Bows April 15 Following The Hersch Variations

NATASHA PAREMSKI BRINGS DOWN THE HOUSE AND FINAL CONCERTS GRAND CURTAIN APRIL 15 IN NEWMAN

by Kenn Gartner
Sunday, April 15, 2012

Local favorite Natasha Paremski presented the final Concerts Grand recital of the ninth season April 15 with an eclectic program of super rare and super popular piano music. It was an exciting afternoon.

Miss Paremski is a deft verbal commentator with audiences and has great command of the instrument. Her octaves were almost like machine guns and her finger work in each of the five programmed pieces was elegant when necessary and forceful during passages which required strength.

The concert in SRJC’s Newman Auditorium began with Brahms’ F Sharp Major Sonata, Op.2, a work totally absent from programs in my memory. Her interpretation exceeded that of Julius Katchen, the pianist often associated with the recorded Brahms‘ oeuvre. Throughout the sonata there were huge contrasts in dynamics which helped delineate conversations between high and low registers, but occasionally this was accompanied by harsh sounds in the piano’s treble. The first movement begins with fistfuls of octaves done with drama and panache, and the second theme, two quarter notes plus a triplet, was heard clearly. The second movement developed large contrasts from piano
pianissimo to forte fortissimo and Ms. Paremski projected them with aplomb.

As with the program's concluding piece, Prokofiev's 7th Sonata, Brahms' third movement Scherzo allegro has a "military" configuration and difficult grace-note turns, which at speed are pesky, but here they were clear and sounded like explanations. The finale's subtle repeat showed how the artist could shade recurrent motives, albeit with a pedal that often blurred the line. It was rushed playing. The pianist's body English was ever present and enjoyed by the nearly packed audience. A standing ovation was the reward.

Jazz pianist Fred Hersch's Variations on a Theme from Tchaikovsky’s Fourth Symphony closed th first half, in its second performance anywhere. The premiere was April 14 at Sacramento State University. Written for Miss Paremski, the variations are not traditional in any sense and are tonal throughout with lots of 16th notes in both hands and triplets abounding. One variation had the left hand doing figurations over the right, followed by the right over the left, and the pianist wasn't happy with the results, saying "thanks Fred" and began the phrase again. The crowd loved her insoucience and me too. These innovative variations were certainly diverse: a tango, high register song, a Joplin knock off, bitonatity. New music performance is to be applauded and the composer Guillaume Machaut said "anything not composed within the past two weeks is not worth listening to."

Using the score, the performance didn't sound like it was sight read. Mr. Hersch could not have a better advocate for his work.

Two Chopin works began the second half, the dramatic F Minor Fantasie and the D Flat Berceuse (Op.57) with its rocking left hand ostinato figuration. In the Fastasie, one of Chopin's greatest works, Ms. Paremsky underscored the improvisitory and march-like passages, and in the sorcery of the Berceuse the ascending and descending right-hand arabesques were played with delicacy. The Fantasie was a "modern" performance with little rhythmic flexibility but interesting sforzando effects. It was a big boned conception.

Prokofiev's B-Flat Sonata was billed as the artist's signatue piece and she pushed the already fast tempos in the outer movements. The opening Allegro inquieto has a passage of nearly 32 bars which gets louder and faster and more agitato, and here Ms Paremski drove the envelope at least as far as Horowitz, and it was thrilling. The bluesy, jazzy interlude of a a second movement (a rose between two thorns?) received a calm and thoughtful interprepation, setting the stage for the famous precipitato finale. Here the 7/8 meter has an ostinato consisting of five notes over two measures, played in octaves. This is similar to the "clave" in Latin music. She stormed though it with hardly a nod to rubato or release, but the composer was said to have wanted it played like a machine.

Naturally it generated a storm of applause and Ms. Paremski returned to play Rachmaninoff's lovely C minor Etude Tablauex from Op.33. Here she phrased the captivating melody in what is really a nocturne with elegance and almost nostalgia.