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SIX GUITARISTS IN UNIQUE NAPA RECITAL
by Gary Digman
Sunday, July 25, 2021
The first Napa Valley Guitar Festival was held at Napa’s First Presbyterian Church July 25, and featured performances from six classical guitarists. The Church is an iconic structure in downtown Napa, its huge white presence dominating the scene, and the white theme continues inside punctuated by be
Chamber
CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
Chamber
EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
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.