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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
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.