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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
CHAMBER REVIEW
Jon Nakamatsu / Sunday, November 30, 2008
Jon Nakamatsu, Pianist

Jon Nakamatsu

NAKAMATSU OFFERS PROVOCATIVE MUSICAL INTOXICATION

by Terry McNeill
Sunday, November 30, 2008

Many components go into a fine piano recital — the artist’s technique, rhythmic control, range of tonal colors, choice of repertoire, and even stamina. All can combine to make a first-rate performance. But in recent local recitals, a key part for listeners — the aspect of being thrilled — has gone missing. Not so for Bay Area hero Jon Nakamatsu, who provided thrills across the musical spectrum on Nov. 30 in a sensational Newman Auditorium recital for the Concerts Grand series in Santa Rosa.

Before a nearly full house, liberally sprinkled with musicians, Nakamatsu performed mostly dance-related pieces with masterly control of line and color. His recital was an object lesson in projection of difficult music, nearly all which required resolute concentration by listeners and rewarded such close attention with sonic delights.

Beginning with Haydn’s Sonata No. 33 in C Minor, Nakamatsu quickly demonstrated why his playing is nonpareil. Each of the three movements had lift and clarity, his careful use of dynamics and articulation highlighting the drama and pathos. Haydn’s sonatas seem to be almost displacing those of Mozart and Scarlatti, a welcome development. All was in impeccable order, whetting the appetite for a big work from the Romantic era.

Carnaval is one of Schumann’s masterpieces, not often played in Santa Rosa, and several seasoned members of the audience could only recall a long-ago Claudio Arrau performance for the Community Concerts series. Nakamatsu’s reading is likewise sure to linger in the memory. His balanced phrasing and economy of motion in both hands was a marvel, the fleet scales and coloristic effects becoming an object lesson for each of the piece’s 22 sections. He can play very fast with nary a slip, and only the tempo in the Paganini part causing some missed notes in the wide right-hand skips. Rachmaninoff’s famous recording is of equal speed, and praise for Nakamatsu can thus go no higher. The final left-hand crossover chord brought a roar from the crowd, to my mind the loudest and most prolonged “noise” heard in Newman, surpassing the tumult offered to Garrick Ohlsson after his 2007 Liszt B Minor Sonata. In his remarks to the audience at the beginning of the second half. Nakamatsu acknowledged the commotion by saying that he thought he couldn’t perform much better, and reflected about driving off in his car, but of course remembered that another 45 minutes of playing was in front of him!

And it was an eminent second half, led off by five piquant Danses Fantastiques, Op. 2, of Iranian-American composer Loris Tjeknavorian. Each of the five told a different story, some vaguely reminiscent of Bartok, some scattered tableaux spiced with contrary motion octaves, powerful sforzandos and false cadences. Originally part of a 1962 ballet, these dances deserve repertoire status. Several people later asked the pianist about getting a copy of the score.

Far from dissonance, but nonetheless harmonically divergent, were two short Liszt Impromptus, the first dedicated to an admirer of the composer, Princess Gortschakoff. As in many late Liszt works, the wistfulness dominated, bathed in a precursor of Impressionism. The more popular Valse Impromptu found Nakamatsu in a playful mood, adding small alterations to the rhythms and catching with gorgeous dexterity the work’s insouciance.

Completing the program was the so called “Dante’ Sonata, a single-movement piece that is perhaps closer to Berlioz than anything Liszt ever wrote. Its pictorial drama is difficult for many to comprehend, as the free rhapsodic style depicts a turbulent Paradise and juxtaposes a stark variety of theatrical scenes. Nakamatsu made a cohesive case with scintillating octaves, forte block chords and shimmering tremolos, all part of a convincing whole. It was one of the best readings of the work I have ever heard, and the audience exacted two encores, each a testimony to Nakamatsu’s elegant pianism.

Mendelssohn’s celebrated Introduction and Rondo Capriccio, Op. 14, was the proper tonic after the Liszt pyrotechnics. All was in place — repose, sparkling scales, controlled passage work and a suitably rousing ending. The Fourth Chopin Impromptu followed, the “I’m Always Chasing Rainbows” motif from Tin Pan Alley fame sung with grace and delicate finger staccato.

The recital was a throwback to what Hofmann, Busoni, Rachmaninoff and Horowitz did in the last century, combining sovereign pianistic execution with extraordinary emotional impact. Jon Nakamatsu achieved a similar result with the great Steinway last Sunday, drawing listeners into a rare 90 minutes of provocative musical intoxication.

Note: The reviewer is the producer of the Concerts Grand series.