Pianist Thomas Nickell in Review
Thomas Nickell, piano/composer
Tenri Cultural Center, New York, NY
October 16, 2026
A large crowd was on hand at the Tenri Cultural Center on October 16, 2026, for a recital given by the talented young pianist/composer Thomas Nickell. It does seem that Mr. Nickell has developed a following, as I recognized more than a few faces present from his previous performances. Tonight’s program consisted of works by Amy Beach, Philip Glass, Charles-Valentin Alkan, Franz Liszt, and one by Mr. Nickell himself. As in previous reviews, I’m going to forgo the usual linear path and group the works by each composer, regardless of the order in which they appeared in the program.
Amy Beach’s Op.92, Nos. 1 &2, Hermit Thrush at Eve, and Hermit Thrush at Morn were the opening works for each half (No.1 for the first, No. 2 for the second). Written in 1921 when the composer was in residence at the McDowell Colony, these short works prominently feature hermit thrush songs. Ms. Beach attached a note to each stating these bird-calls were exactly notated, and comparison with actual recordings of hermit thrushes has borne out the accuracy of this claim. (I am just a music critic, not an ornithologist. Sorry, Yuja!) Mr. Nickell rendered these charming bird-calls with a delicate, felicitous touch, after making an adjustment for the rather glassy, strident tone of the upper register, probably a combination of the instrument itself and the rather live and unforgiving acoustics at Tenri. There were moments when the bass was overly robust, but overall the effect was enchanting.
Three Etudes from Book II (Nos. 15, 16, and 17) by Philip Glass were offered. I have written about the challenges of these etudes in a previous review: Pianist Thomas Nickell in Review. The concept of “high-risk, low reward” still holds true, and I commend Mr. Nickell for willingly taking on the challenge. The etudes in Book II are much more challenging than those in Book I, but they are still highly characteristic of Glass’s minimalist writing. Mr. Nickell seems to have an affinity for Glass- not only does he possess the steadiness and precise touch necessary, but he brings something extra to the mix that makes these etudes musically interesting in a way that one would not expect. No. 16, with its spectral quality and 7/8 (3+4) meter, was particularly well-done. My one reservation was a certain heaviness in the left hand in places (once again, one could “blame” the piano more than the pianist), but all-in-all, these works were my favorites of the evening.
Alkan’s Trios Andantes No.3, Op. 13, with its extended slow trill, was as if Philip Glass stepped into a time machine and paid a visit to Alkan. It was a clever companion pairing to the Glass etudes, and Mr. Nickell brought to this work the same qualities that made his Glass notable. It was another excellent performance.
Mr. Nickell writes of his Piano Sonata No. 4,“(T)he driving idea behind the composition was the interplay of large and small structural ideas, and the contrast of simple and complex sounds.” I still feel that Mr. Nickell is experimenting with different styles as he seeks to find his unique voice. Robert Chumbley was a name that came to mind, a very good model to be sure. There was not a clear delineation between the four movements, and this is something Mr. Nickell might wish to consider for future performances. The concept itself is interesting, and there were many instances of brilliance surrounding the more cerebral.
Liszt’s Sposalizio, inspired by a painting by Raphael, is not virtuosity for virtuosity’s sake. There is a sense of architecture and depth that is not always present in his early works. Mr. Nickell did not shy away from bringing the virtuosic elements out with some panache, but it never degenerated into bombast, nor did it overshadow the lyrical beauty that abounds. Après une lecture du Dante: Fantasia quasi Sonata, the Dante Sonata ended the concert. We descended into hell and heard the wailing of the souls, with tritones (Diabolus in musica) embellishing the hellish landscape. We also ascended into Heaven with the divine sounds of the second F-sharp major theme, before a final demonic display of octaves strongly suggesting Satan in Inferno. It is a thrilling work for the performer and audience alike, and Mr. Nickell brought the thrill with gusto. While it is more fun to admire the “hell,” the “heaven” was what I found to be the most notable aspect of Mr. Nickell’s performance. To be sure, he really “went for broke” in the closing octaves, and while I admire that, it also has to be noted that the overall effect was more helter-skelter than it needed to be. This was of no consequence to the audience, who reacted with great enthusiasm at the finish. I’m sure I will be hearing more of Mr. Nickell in the future.
