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Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
Symphony
WHAT SOUND DO STAR-CROSSED LOVERS MAKE?
by Steve Osborn
Sunday, February 12, 2017
Valentine’s Day is just around the corner, so the Santa Rosa Symphony feted the occasion by telling and retelling the story of Romeo and Juliet, a tale ever the more poignant during our era of stark divisions. The first telling was from Berlioz; the second from Prokofiev. In between was Brahms’ monu...
CHAMBER REVIEW
Mill Valley Chamber Music Society / Sunday, January 25, 2015
Manasse-Nakamatsu Duo. Jon Manasse, clarinet; Jon Nakamatsu, piano

Manasse-Nakamatsu Duo

SNAZZY CLARINET-PIANO WORKS IN MILL VALLEY CHAMBER CONCERT

by Terry McNeill
Sunday, January 25, 2015

Often international-level instrumental duos are pickup couplings, one virtuoso’s schedule meeting another’s with the resulting desultory concerts. An exception would be the violinist Anne Sophie Mutter with her long-time partner Lambert Orkis, and the Nakamatsu-Manesse Duo.

The latter played a provocative concert Jan. 25 in the Mill Valley United Methodist Church, and the ten years of collaborative music-making of the two Jons was everywhere in evidence. Perhaps the recital’s major work was the E Flat Sonata of Brahms, Op. 120, No. 2. Here the playing was muscular and often loud in the Church’s diffuse acoustic ambience but it never deviated from the autumnal character of late Brahms. Mr. Nakamatsu’s phrasing with inner voices and subtle rubatos was admirable.

The scherzo was suitably impassioned and the finale (a set of variations) was taken at a fleet pace, the clarinet line rising and falling over the pedal point and solid underpinning of the piano line.

Massager’s frenzied Solo de Concours, a charming six-minute romp for clarinet, opened the recital and the Chopin Andante Spianato and Grande Polonaise, Op. 22, for solo piano, ended the first half. The first was played with delicious relish by Mr. Manasse, and the second with assured virtuosity by Mr. Nakamatsu. The Chopin has been a signature piece for the San Jose-based pianist, and was featured in his 2011 Santa Rosa recital and on recordings. Virtuosos in the past played the flowing Andante fast and the following Polonaise leisurely, but the pianist adopted the modern practice with a strolling pace (“spun out”) and a quick Polish dance ending. Mr. Nakamatsu gently teased the rhythms in the Polonaise and varied the speed of the few trills and repeats. Just before the final few bars there was spot at the top of a run where the last note was held in a bravura way with the sostenuto pedal. The effect of this and the final five repeated E-Flat notes brought a standing ovation from the 350 in the Church.

Mr. Manasse’s entertaining verbal comments preceded every work in the recital and he playfully called his partner ‘Mr. Nakamazing,” alluded to his past as a piano competition winner and high school teacher of German. The pianist took it all in stride and in the Poulenc Clarinet Sonata the Duo played the charming work from 1962 with aplomb. The Romanza was especially lovely with reflections of the composer’s earlier Les Soirées de Nazelles. The clarinet and pianissimo piano lines moved in perfect balance.

A set of three brief works spotlighting Mr. Manasse concluded the program, including his playing of Stravinsky’s Three Pieces for Clarinet Solo and Charles Goodwin’s Four Views of Clarinet and Piano from 2012. The Four Views is a busy work with syncopated questions and answers from the instruments, with lyrical Coplandesque motives popping in. In places the playing was in café music style and background movie music, turning in the final section to bouncy jazz motives.

The concert ended with another work written for the Duo, John Novacek’s Full Stride Ahead from “Four Rags for Two Jons.” The Duo has been playing this work for many seasons and gave the snazzy piano-voice interplay (from the iconic Ammons/Johnson bluesy stride style) a scintillating interpretation of high-level high jinks that predictably brought down the house.

An encore was demanded and the Duo responded with an arrangement of Gershwin’s I Got Rhythm from the 1930’s musical “Girl Crazy.” Mr. Manasse made a fetching display of squeaks and skips with the clarinet, along with several long glissandos from Mr. Nakamatsu. Clearly they were having a great deal of fun with the piece.

And so did the audience, including many that had heard the duo in the Mill Valley Chamber Series four years ago and who were seen asking the producers for a third appearance of this impeccable pair.