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Recital
NORTH GERMAN CHORALES WERE MUSIC FOR THE SOUL AT AGO RECITAL
by James Harrod
Sunday, August 28, 2016
Organist Paul Blanchard played an outstanding and instructive recital August 28 at Santa Rosa’s First Presbyterian Church. It was the fourth and last in a series of summer Sunday recitals featuring organists of the local chapter of the American Guild of Organists (AGO), and underwritten by the Churc...
Recital
FRESH AND LIVELY HANDEL ORGAN CONCERTOS IN AGO ARTIST RECITAL
by James Harrod
Sunday, August 21, 2016
Organist Beth Zucchino played a delightful recital of three Handel concertos August 21 at the First Presbyterian Church in Santa Rosa. This was the third in a series of summer Sunday recitals featuring organists of the local chapter of the American Guild of Organists (AGO). The program was three o...
Recital
INSPIRING INTERPRETATIONS IN DE SANTIS ORGAN RECITAL
by James Harrod
Sunday, August 14, 2016
Organist Greg de Santis played a delightful and expertly shaped recital of mostly familiar selections August 14 from the classical organ repertory at the First Presbyterian Church in Santa Rosa. The program opened with Mendelssohn’s C Minor Prelude and Fugue, Opus 37, No 1. The three preludes and ...
Chamber
WILKINSON PERFORMS IN PRESBYTERIAN CHURCH ORGAN RECITAL
by James Harrod
Sunday, August 07, 2016
Organist Cathryn Wilkinson played a delightfully warm and entertaining recital of mostly organ transcriptions August 7 at the First Presbyterian Church of Santa Rosa. The music was happy and cheerful despite the dry church acoustics, and was intelligently and carefully played. The only missing eleme...
Chamber
19TH CENTURY STAR POWER AT VOM MUSIC FESTIVAL
by Terry McNeill
Saturday, July 30, 2016
In the penultimate concert July 30 of the Valley of the Moon Music Festival’s second season, the compositions of Schubert. Rossini and Beethoven were featured in a program titled "Star Power in the 19th Century." Iron Horse Vineyards provided the reception’s wines. Classical Sonoma was unable ...
Chamber
PIANOSONOMA SERIES OPENS WITH ECHT GERMAN ROMANTICISM
by Terry McNeill
Tuesday, July 26, 2016
PianoSonoma’s second season in SSU’s Schroeder Hall began July 26 with a mixed program under the series appellation “Vino & Vibrato.” The set of student workshops and concerts, headed by Juilliard School pianists Jessica and Michael Shinn, puts artists in residence in close contact with Sonoma Coun...
Symphony
BACH'S MIGHTY MASS ENDS MENDOCINO FESTIVAL
by Paula Mulligan
Saturday, July 23, 2016
For the final concert of the Mendocino Music Festival July 23 Alan Pollack conducted the Festival Orchestra and Chorus in just one work, Bach’s B Minor Mass.  The orchestra, much reduced in size to suit the needs of the sparser scoring and the character of the composition’s period, ably supported th...
Chamber
SCHUBERT'S THEMES OF YOUTH AND DEATH AT VOM MUSIC FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 23, 2016
The beautiful new Hanna Boys Center auditorium in Sonoma Valley was the setting for the July 23 concert of the Valley of the Moon (VOM) Music Festival, now in it’s second year. Directors Tanya Tomkins and Eric Zivian have created a Festival of Classical and Romantic repertoire played on period inst...
Other
LATE BEETHOVEN EXPLORED AT MMF CONCERT IN PRESTON HALL
by Paula Mulligan
Thursday, July 21, 2016
The Mendocino Music Festival performance in Preston Hall July 22 was titled “Late Beethoven,” and was the final presentation in the tribute to the composer that was part of this year’s Festival.  Pianist Susan Waterfall has been giving a series of lecture dealing with Beethoven’s life and music, and...
Symphony
HEROISM AND SUBTLETY IN ALL-BEETHOVEN MMF CONCERT
by Paula Mulligan
Wednesday, July 20, 2016
Much of the emphasis of this year’s Mendocino Music Festival has been about Beethoven, and a series of small venue performances with Beethoven lectures by Festival co-director Susan Waterfall preceded the July 20 orchestra performance in the big tent on Mendocino’s main street. From the opening bar...
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.