On Classical Hour Baptist Seminary, Alumni Chapel


For the first time on the Classical Hour Concert and Radio Series, Nada performs with an orchestra hired for the occasion, Johannes Brahms First Piano Concerto, Op. 15.”This work was originally conceived as a symphony and a two piano sonata before it finally became a piano concerto. The young composer of 25 years old gave the premiere in 1861 which was unfortunately a disaster. It took a couple of additional performance for the concerto to finally be well received by the public and to take its commanding place into the piano repertoire.A smaller size orchestra was present for the occasion and due to the excellent quality of its musicians, the overall sound was impressive and the solo instrumental sections were quite well done.It was evident for exercised ears that there was a lack of coordination between orchestra and soloist, and the question of cooperative effort from the conductor remains a question. Nada’s excellent phrasing, clarity of musical gestures and perfect voicing led the majority of its musicians into her music making, audience alike.

Were there some ensemble problems? Some lost entrances and synchronization for orchestra players? Was there a conductor?

We were drawn into Nada’s assertive tone. The first movement, despite all, was alternatively large in gestures, expressive and dramatic at its most, with excellent contrasts in between.

In the second movement, Nada made every voice and every note shine into the introspective quality of the music here, a prayer modeled as a chorale for piano and orchestra.

Few performers if any, dare take that much time and space in the last two cadenzas of the third movement. What a cadenza is for, if not to reinvent it and recreate it?

Nada has no fear in opening up its phrasing to its utmost stretching, to its breaking point, her sound is big and voicing perfect.

The rondo was probably the most successful for the orchestra and soloist. It’s very rhythmic quality and accentuation provided a great base for Nada’s clear intentions and the orchestra followed her.

Brava! A strongly emotional performance and another account of Nada’s great artistry.” VRK