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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
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
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...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
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...
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.