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Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
Chamber
COMMANDING CHOPIN AND DEBUSSY IN SLV RECITAL
by Terry McNeill
Wednesday, June 06, 2018
Concerts at the classy Spring Lake Village Retirement Home in Santa Rosa have admission limited to residents and a few guests, but the chance to hear a first cabin North Bay pianist June 6 brought a Classical Sonoma reviewer into the audience of 100. The crowd numbers were unusually low due to a ba...
Recital
MUSICAL ALCHEMY INSIDE A HIDDEN GEM
by Kayleen Asbo
Friday, May 25, 2018
The Petaluma Historical Library and Museum is a hidden gem of Sonoma County, a gracious building that is one of Sonoma County’s loveliest venues for chamber music concerts, with a fine period piano particularly suited to Romantic music.  Of the surprisingly large array of festivities there, one of t...
Chamber
FINAL VOM MUSICIANS CONCERT IN SCHROEDER A SCHUBERT DELIGHT
by Terry McNeill
Saturday, May 12, 2018
It's rare to have the opportunity to compare in a short period two performances of the same major Schubert work, in this case the great B Flat Piano Trio, D. 898. The chance came May 12 when the Valley of the Moon Festival musicians played it in Schroeder, just over a month since the Hall’s residen...
Symphony
FERRANDIS BIDS ADIEU WITH MAHLER’S FINAL SYMPHONY
by Steve Osborn
Sunday, May 06, 2018
Sonoma State students in graduation robes posed for pictures and hugged each other at the university’s stone gates on Sunday afternoon, mirroring the prolonged farewells within the university’s Green Music Center, where Bruno Ferrandis bid adieu to the Santa Rosa Symphony after a dozen years at the ...
Symphony
SONIC SPLENDOR AT MARIN SYMPHONY SEASON FINALE
by Abby Wasserman
Tuesday, May 01, 2018
The Marin Symphony Orchestra ended the current season with a flourish, interpreting big and small works by Richard Strauss and Stravinsky. Strauss and Stravinsky were contemporaries for 40 years, but inhabited different worlds. Both composers were affected by cataclysmic changes and war, and musical...
Symphony
ORGAN SYMPHONY IN SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, April 29, 2018
Though Classical Sonoma seldom reviews student concerts, as ample North Coast concerts keep the staff of 11 reviewers busy. But the chance to hear the Sonoma State University Orchestra tackle St. Saëns’ majestic Organ Symphony April 29 was a rare opportunity and not easily to be missed. Avec l’...
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.]