Home  Reviews  Articles  Calendar  Presenters  Add Event     
Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
Symphony
MONUMENTAL NIELSEN SYMPHONY CAPS SO CO PHIL CONCERT AT SR HS
by Terry McNeill
Saturday, January 27, 2018
Turning again away from conventional repertoire, the Sonoma County Philharmonic programmed Jan. 27 three works in what were local debut performances in Santa Rosa High School’s Performing Arts Center. Nielsen’s Fourth Symphony, Op. 29, called “Inextinguishable,” closed the program with an extravaga...
Chamber
ECLECTIC ANDERSON & ROE TRANSCRIPTIONS CAPTIVATE WEILL HALL AUDIENCE
by Nicki Bell
Sunday, January 21, 2018
From the first moment when Greg Anderson and Elizabeth Joy Roe walked Jan. 21 on the Weill Hall stage and spoke to the audience about their two-piano program, it was clear that an afternoon of drama, humor, virtuosity, warmth, transcendence and excitement was in store. This dynamic and mesmerizing ...
Chamber
BALCOM TRIO HIGHLIGHTS DELPHI'S RAC CONCERT IN OCCIDENTAL
by Sonia Morse Tubridy
Saturday, January 20, 2018
The Redwood Arts Council audience first met the Delphi Trio (Jeffrey LaDeur, (piano), Liana Berube (violin), and cellist Michelle Kwon) in 2013, and subsequent concerts in the same Occidental hall have become crowd favorites. The January 20th program before a capacity audience seemed to have enthus...
RECITAL REVIEW
Jon Nakamatsu / Sunday, October 23, 2011
Jon Nakamatsu, piano

Jon Nakamatsu Playing Liszt's Sonetto Del Petrarca No. 123 (G. Louie Photo)

THRILLING PIANISM IN NAKAMATSU'S CONCERTS GRAND RECITAL AT SRJC

by John Metz
Sunday, October 23, 2011

Jon Nakamatsu is a pianist that does everything well, and proved as much in his Oct. 23 Newman Auditorium recital that launched the final Concerts Grand recital season. Other pianists may have greater orchestral power, or more tonal colors, or faster left-hand octaves, but Mr. Nakamatsu, arguably the North Bay’s most popular virtuoso, has a faultless musical and technical approach to the works he programs.

Before a standing-room audience packed with musicians he began with Rameau’s haunting Gavotte with Variations, exhibiting a crystalline Baroque touch and artful execution of ornamentation. His control of embellishments never distorted the line and he often in ornaments used descending rolled chords, an uncommon choice but I think telling. His pedaling in the Rameau, as throughout the recital, was discrete and was just enough to get the desired tone without overwhelming this delicate music. In the Second Variation the tempo was quick, giving the artist some difficulty with the rising left-hand scale figures. The fast pace continued in the exciting Fifth and Sixth Variations, quasi toccata in style, and occasionally a few repeated notes didn’t sound, perhaps sacrificed for the sake rhythmic energy. A perfect piece to start the program.

Brahms’ granitic C Major Sonata came next, probably a local premiere as it’s rarely performed in favor of the F Minor Sonata or the Handel Variations. It’s an extroverted work throughout, the poignant second theme being pure young Brahms and composed at age 19. Mr. Nakamatsu played the first movement with complete control over his tone quality, shining in lyrical passages, and I appreciated the repeat of the exposition. It sounded organic rather than arbitrary or customary. In general the sound was classical rather than romantic, but at times in the burlier passages the playing was a bit careful. In the development some moments of embellishment figurations could have been more whimsical and extemporaneous.

The antiphonal Minnesong that proceeds into a series of variations had a plaintive, mystical quality, the pianist’s tone chaste. The Scherzo was a vibrant technical display with crisp and detached right-hand chords. Mr. Nakamatsu was aiming for clarity, using a secco touch, and in the Trio the clear execution of three sound planes (high melody, medium tremolo chords, and low bassline/counter melody) were all contrapuntally distinguishable.

The finale with its frequent wicked leaps to dense chords requires a brave performer, and the pianist was up to the task, playing with grand sweep and vigor. In summary, a rousing performance of a knotty work, controlled yet passionate, a sonata new to most of the audience.

After intermission the popular Liszt Sonetti Del Petrarca were played, beginning with the rhapsodic No. 47. Here Mr. Nakamatsu was in his element, mixing lyricism, drama and pathos, never overplaying the contrasts. Sonetto No. 104 is everyone’s favorite and received here a heartfelt and touching performance. In this work everything, from simple melody sections to romantic cadenza-like outbursts, sounded organic. The artist has great thirds and a deft pedal, the latter on display in the elegant and nostalgic Sonetto No. 123. This was perhaps the finest playing of the afternoon with amazing piano and pianissimo command and at times an absolutely ethereal tone. Breathtaking.

The best of the afternoon? Maybe, but the closing Andante Spianato and Grand Polonaise Brillante in E, Op. 22, of Chopin, is a work Mr. Nakamatsu “owns” and one that he has recorded and played all over the world. The ne plus ultra Op. 22 is Hofmann’s iconic 1937 Golden Jubilee recording, where in the old pianistic style the Andante is played on the fast side and the Polonaise is a more subdued dance. The modern style is the opposite, and Mr. Nakamatsu is a thoroughly modern pianist, and he played the Andante exquisitely, the arabesque-like embellishments sounding free and the theme sweetly singing over a ruminating left hand. The chorale middle section was briskly elegant, leading effortlessly to the repetition and the pompous fanfare that is a bridge between the work’s two sections. This is an effervescent Polish dance, a Polonaise of lighthearted fun. The artist himself seemed to be having fun playing it and showing the audience a good time. The swirling, humorous and never-ending coda was sensationally played, the vehement final five E Flat chords bringing the crowd to its feet in a thunderous ovation.

I sense the artist has a deep connection with this work and he lavished some inner voices and interesting (never affected) rhythmic innovations that were a delight. The meteoric Chopin’s music is poetic song, and here song was combined with technical mastery that was convincing in every way. Clearly Mr. Nakamsu’s strength is in lyrical playing. Give him a nice melody and he will make you swoon.

Liszt’s transcription of Schumann’s song “Widmung” (dedication) was the only encore, and it received an opulent performance that any great German lieder singer would have been proud of.

Mr. Nakamatsu’s sovereign artistry produced the finest North Bay piano concert since the 2009 recitals of Valentina Lisitsa and Nareh Arghamanyan on the same stage.

Elenor Barcsak, John Boyajy, Gerald Blodgett, Victor Spear and Terry McNeill contributed to this review