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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
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...
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