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Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
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
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
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.