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Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
SYMPHONY REVIEW
Santa Rosa Symphony / Saturday, May 07, 2011
Bruno Ferrandis, conductor
Jon Nakamatsu, piano

Pianist Jon Nakamatsu

SMALL HANDS, BIG HEART

by Steve Osborn
Saturday, May 07, 2011

Jon Nakamatsu has small hands but a big heart. That anatomic mismatch was abundantly evident during his appearance with the Santa Rosa Symphony on May 7, which featured a swoon-inducing rendition of Tchaikovsky’s canonic first piano concerto. From the familiar opening to the thrilling conclusion, the petite Nakamatsu held the audience in thrall, as much by his prodigious technique as his elegant phrasing.

He began lightly, playing the opening chords with little sustain and zero bombast. His persistent use of staccato drew attention to the notes rather than the pedal and signaled that his performance would focus more on delicacy than excess. His posture reflected this approach. He sat ramrod straight, without undue swaying, and his hands were always at the keyboard, only rising in the air occasionally to punctuate the ends of phrases.

As the movement progressed, Nakamatsu began to lighten up. His use of the pedal increased, and his many runs up and down the keys swelled in velocity and expressivity. By the cadenza, he had reached full stride. Here his impeccable technique shone through, with every note sounding and every phrase etched to perfection. What was most impressive, however, were his judicious pauses between lines. Even the rests were melodic.

In the background, conductor Bruno Ferrandis and the Symphony players kept pace with Nakamatsu’s brisk tempi and added many flourishes of their own. Romantic piano concertos have often been characterized as piano vs. orchestra, but such was not the case here. The players faded and came to the fore as needed, often seeming to inspire Nakamatsu to more expressive heights.

The opening movement ended with hearty applause, a neglected tradition that appears to be reviving. Opening movements of concertos are really works unto themselves, usually with virtuosic cadenzas, and there’s no reason not to applaud them. Virtually everyone in the nearly full Wells Fargo Center seemed to agree.

After the audience settled down, Nakamatsu embarked on the tender Andantino simplice of the second movement, again displaying his exquisite phrasing and musical empathy. Just when the atmosphere was at its most languorous, he launched into an amazingly fast Prestissimo, showcasing his well-oiled fingers and their astonishing ability to sustain a trill of any length with the utmost precision.

The last movement of the Tchaikovsky showcases the soloist and orchestra in turn, with many alternating passages. On each re-entry, Nakamatsu turned his engagement up a notch, at one point pausing to mop his otherwise unperturbed brow. The standing ovation at the end was immediate and unanimous. It’s hard to remember a better soloist playing with the Symphony in recent years. No one comes to this reviewer’s mind.

The Symphony itself was also in top form. The ever-changing personnel in the string sections played remarkably well, and the more familiar woodwind, brass and percussion players were uniformly excellent.

The concert began with a last-minute addition: the “Nimrod” variation from Elgar’s Enigma Variations, played to commemorate the recent deaths of two prominent local businessmen, Evert Person and Jess Jackson. This was followed in short order by Sofia Gubaidulina’s Fairytale Poem, a brief work from 1971 that displays her firm command of orchestration, but without the intense expressivity of her later works.

Gubaidiluna composed many film scores during the Soviet period, and Fairytale Poem could easily accompany a movie, although it would likely be more of a film noir than a fairytale. The emphasis is on eerie, isolated sounds, with many brief solos giving way to a jazzy section in 6/8. The texture is delicate, often sounding like chamber music, and the major emphasis is on atmosphere rather than narrative.

Like many concert-opening contemporary works, Fairytale Poem was over way too soon. Perhaps Ferrandis will see fit to program a longer work by Gubaidiluna in the future. She is an important composer, and her many compositions deserve a wider audience.

The all-Russian main program concluded in the second half with a stirring performance of Mussorgsky’s Pictures at an Exhibition. Actually, calling Pictures Russian is somewhat misleading, since it owes as much to Ravel’s decidedly French orchestration as to Mussorgsky’s original piano score. The entire piece, in fact, is a tangle of original and copy. Are we hearing Mussorgsky, Ravel or Victor Hartman, whose paintings originally inspired the work?

The answer may be all three, along with the musicians and conductor who perform, in this case bringing the pictures to life. Beginning with a strong entry from the brass section, the Symphony displayed its many talents, including some memorable tuba playing, a haunting saxophone solo, and consistently energetic percussion. Ferrandis was in full control, executing sharp cutoffs and setting brisk tempi.

Everything worked. By the final picture, “The Great Gate of Kiev,” the Symphony was in full tilt, with the cymbals crashing and everyone else playing to the max. It was a rousing finale for the Symphony’s penultimate season in the Wells Fargo Center. Thanks to a recent infusion of much-needed cash, they move to the resplendent Green Music Center in 2012.

[Reprinted by permission of San Francisco Classical Voice.]