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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
CHAMBER REVIEW
Ken Iisaka / Sunday, January 25, 2009
Ken Iisaka, Pianist

PIANISTIC LARGESSE IN MARIN

by Terry McNeill
Sunday, January 25, 2009

Marin pianist Ken Iisaka has been getting around lately, playing frequent concerts, competing in high-level competitions, writing about music and investigating rare repertoire that incites new interest. But he is seldom heard in a formal winter recital setting, with a good piano, and with somewhat standard compositions. The oversight was remedied January 25 when he presented four big works at San Rafael’s JB Piano Emporium under the auspices of the Concerts Grand piano series.

The afternoon’s music began with Haydn, specifically the effervescent Sonata No. 60 (Hob. XVI/50) that Lang Lang has frequently performed. Iisaka’s reading had all the humor and digital dexterity of Lang, along with exceptionally effective blurred pedal effects in the opening Allegro and deftly handled modulations in the Finale.

Brahms’ big Handel Variations, Op. 24, closed the first half. This monumental work from 1862 received an ardent reading, somewhat conventional compared to the text changes made in the classic Petri and Solomon recordings, but altogether achieving a powerful drama. The playing was not note perfect, but Iisaka generated momentum and majesty at the expense of precision. Tempos were brisk and allowed colorful inner details to shine. Iisaka had his arms solidly around the work.

Following an intermission spiced with gratis champagne and lots of audience piano playing on the store’s instruments (thankfully not the Grotrian 275 on the stage), Iisaka presented one of his signature pieces, the Berg Sonata, Op. 1. This sonata is a highly chromatic and thick-textured work, with seemingly everything growing from the first measures. Iisaka played it with fastidious attention to inner lines and polyphonic detail. Early Berg looks back toward the Romantic era, and Iisaka deftly spotlighted the connections.

Nikolai Medtner (1880-1951) remains one of the Rodney Dangerfields of 20th century piano composers – never getting much public respect and eternally in the shadow of Rachmaninoff. His F-Sharp “Sonata Ballada,” Op. 27, concluded the program, and Iisaka played the cyclic forms so favored by Medtner with sharp relief. Iisaka clearly loves this music, and he lavished great care with the ephemeral themes and distinct contrasts. The constant breaks between the lyricism and passionate parts were effectively juxtaposed.

Iisaka tends to be generous with his pianistic largesse, and he offered two big sets of variations as encores. First came Kapustin’s Op.80 Theme and Variations, a tour-de-force fusion of jazz rhythms and the descending-note motif from Stravinsky’s “Sacre du Printemps.” This reviewer was not alone in being unable to find the theme in the cascade of notes, and the pianist kindly showed the errors of our ways by demonstrating the motif prior to introducing yet another long and demanding encore, Mozart’s 12 variations on “Ah! Vous Dirai-Je, Maman.” Here Iisaka reveled in the complexity of the variation forms, displaying a light touch and droll phrasing. An éclair to end a recital of provocative music.

The reviewer is the Producer of the Concerts Grand series