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Recital
THE BALLADE OF JUHO POHJONEN
by Terry McNeill
Sunday, September 14, 2014
Planning a piano program around a single theme or name can be tricky because cutesy connections can easily displace artistic merit. Fortunately, Juho Pohjonen's Sept. 14 recital in the inaugural "Sundays at Schroeder" concert was a textbook example of a successful theme--ballades--supported by wonde...
Chamber
POTENT STUDENT WORKS IN ARIADNE TRIO CONCERT
by Nicki Bell
Sunday, August 24, 2014
On a lovely August 24 afternoon the Trio Ariadne played the seventh of ten concerts inaugurating the opening of SSUís Schroeder Hall in the Green Music Center. It was part of a celebratory splash to introduce the music community to this little jewel of a hall, the 250-seat capacity and acoustics pe...
Chamber
ACOUSTIC CLARITY AT LAST
by Terry McNeill
Sunday, August 24, 2014
After years of chamber music frustration in Sonoma State University's Ives and Weill halls, the Trio Navarro basked in acoustical clarity Aug. 24 at their debut concert in the university's new Schroeder Hall. The acoustics in Weill before small audiences, and with lush romantic chamber music, made ...
Chamber
FACULTY AND COMMUNITY MUSICIANS JOIN IN SCHROEDER CELEBRATION
by Terry McNeill
Sunday, August 24, 2014
Though many of the inaugural Schroeder Hall concerts had larger audiences than the Aug. 24 faculty and community musician event, few of them had such lovely music on display. Some of the best were first, with ravishing music from SSU guitarist Eric Cabalo and Santa Rosa Symphony violinist Eugenie W...
Chamber
VOCAL PYROTECHNICS LIGHT UP SCHROEDER HALL
by Terry McNeill
Sunday, August 24, 2014
What could end a wildly successful 10-concert inaugural weekend in SSUís new Schroeder Hall? A resounding concert of manifold brass, organ and voice that turned out by a wide margin to be the overall audience favorite. The long Sunday evening event put on display every piece of Schroederís vaunted...
Recital
KAHANE RECITAL HELPS INAUGURATE SCHROEDER HALL
by Terry McNeill
Saturday, August 23, 2014
Jeffrey Kahane returns frequently to Sonoma County in conducting and concerto performance, but rarely in recital. Two past solo events come to mind, a "fantasy" program where the Copland outshone the Schumann and Chopin, and an uneven concert capped by Chopin's F Minor Ballade. A jammed Schroeder ...
Recital
HERE COMES THE ORGAN!
by James Harrod
Saturday, August 23, 2014
The rich sounds of Dutch Renaissance organ flutes, reeds, and mixtures sounded in Sonoma County August 23 when James David Christie inaugurated the new Schroeder Hall pipe organ installation at Sonoma State University. Under the performerís experienced and sensitive touch, the Brombaugh Opus 9 mech...
Choral and Vocal
A FITTING OPENING FOR SCHROEDER HALL
by Terry McNeill
Saturday, August 23, 2014
A choral concert by the Sonoma Bach Choir was a fitting opening for the new Schroeder Hall at Sonoma State University on Aug. 23. After all, the idea for the Green Music Center came many years ago from Don Green, who at the time was singing in the Bach Choir, conducted then and now by Bob Worth. Th...
Chamber
UBER VIOLISTS AT MUSIC IN THE VINEYARDS
by Steve Osborn
Friday, August 08, 2014
Full disclosure. I'm an amateur--very amateur--violist, so Friday's Music in the Vineyards concert in Napa Valley was of particular interest to me. The program featured two sextets with prominent viola parts; a trio for viola, flute and piano; and the piŤce de rťsistance: a quartet for four violas. ...
Chamber
PIANO SONOMA JAMS IN FINAL WEILL CONCERT
by Terry McNeill
Sunday, August 03, 2014
PianoSonoma concluded its artist-in-residence performances August 3 in a sparkling Weill Hall concert where mostly new music overshadowed conventional fare. Mendelssohnís popular D Minor Trio began the program in a workmanlike performance that never quite caught fire. Tempos throughout were judici...
RECITAL REVIEW
Jon Nakamatsu / Sunday, October 23, 2011
Jon Nakamatsu, piano

Jon Nakamatsu Playing Liszt's Sonetto Del Petrarca No. 123 (G. Louie Photo)

THRILLING PIANISM IN NAKAMATSU'S CONCERTS GRAND RECITAL AT SRJC

by John Metz
Sunday, October 23, 2011

Jon Nakamatsu is a pianist that does everything well, and proved as much in his Oct. 23 Newman Auditorium recital that launched the final Concerts Grand recital season. Other pianists may have greater orchestral power, or more tonal colors, or faster left-hand octaves, but Mr. Nakamatsu, arguably the North Bayís most popular virtuoso, has a faultless musical and technical approach to the works he programs.

Before a standing-room audience packed with musicians he began with Rameauís haunting Gavotte with Variations, exhibiting a crystalline Baroque touch and artful execution of ornamentation. His control of embellishments never distorted the line and he often in ornaments used descending rolled chords, an uncommon choice but I think telling. His pedaling in the Rameau, as throughout the recital, was discrete and was just enough to get the desired tone without overwhelming this delicate music. In the Second Variation the tempo was quick, giving the artist some difficulty with the rising left-hand scale figures. The fast pace continued in the exciting Fifth and Sixth Variations, quasi toccata in style, and occasionally a few repeated notes didnít sound, perhaps sacrificed for the sake rhythmic energy. A perfect piece to start the program.

Brahmsí granitic C Major Sonata came next, probably a local premiere as itís rarely performed in favor of the F Minor Sonata or the Handel Variations. Itís an extroverted work throughout, the poignant second theme being pure young Brahms and composed at age 19. Mr. Nakamatsu played the first movement with complete control over his tone quality, shining in lyrical passages, and I appreciated the repeat of the exposition. It sounded organic rather than arbitrary or customary. In general the sound was classical rather than romantic, but at times in the burlier passages the playing was a bit careful. In the development some moments of embellishment figurations could have been more whimsical and extemporaneous.

The antiphonal Minnesong that proceeds into a series of variations had a plaintive, mystical quality, the pianistís tone chaste. The Scherzo was a vibrant technical display with crisp and detached right-hand chords. Mr. Nakamatsu was aiming for clarity, using a secco touch, and in the Trio the clear execution of three sound planes (high melody, medium tremolo chords, and low bassline/counter melody) were all contrapuntally distinguishable.

The finale with its frequent wicked leaps to dense chords requires a brave performer, and the pianist was up to the task, playing with grand sweep and vigor. In summary, a rousing performance of a knotty work, controlled yet passionate, a sonata new to most of the audience.

After intermission the popular Liszt Sonetti Del Petrarca were played, beginning with the rhapsodic No. 47. Here Mr. Nakamatsu was in his element, mixing lyricism, drama and pathos, never overplaying the contrasts. Sonetto No. 104 is everyoneís favorite and received here a heartfelt and touching performance. In this work everything, from simple melody sections to romantic cadenza-like outbursts, sounded organic. The artist has great thirds and a deft pedal, the latter on display in the elegant and nostalgic Sonetto No. 123. This was perhaps the finest playing of the afternoon with amazing piano and pianissimo command and at times an absolutely ethereal tone. Breathtaking.

The best of the afternoon? Maybe, but the closing Andante Spianato and Grand Polonaise Brillante in E, Op. 22, of Chopin, is a work Mr. Nakamatsu ďownsĒ and one that he has recorded and played all over the world. The ne plus ultra Op. 22 is Hofmannís iconic 1937 Golden Jubilee recording, where in the old pianistic style the Andante is played on the fast side and the Polonaise is a more subdued dance. The modern style is the opposite, and Mr. Nakamatsu is a thoroughly modern pianist, and he played the Andante exquisitely, the arabesque-like embellishments sounding free and the theme sweetly singing over a ruminating left hand. The chorale middle section was briskly elegant, leading effortlessly to the repetition and the pompous fanfare that is a bridge between the workís two sections. This is an effervescent Polish dance, a Polonaise of lighthearted fun. The artist himself seemed to be having fun playing it and showing the audience a good time. The swirling, humorous and never-ending coda was sensationally played, the vehement final five E Flat chords bringing the crowd to its feet in a thunderous ovation.

I sense the artist has a deep connection with this work and he lavished some inner voices and interesting (never affected) rhythmic innovations that were a delight. The meteoric Chopinís music is poetic song, and here song was combined with technical mastery that was convincing in every way. Clearly Mr. Nakamsuís strength is in lyrical playing. Give him a nice melody and he will make you swoon.

Lisztís transcription of Schumannís song ďWidmungĒ (dedication) was the only encore, and it received an opulent performance that any great German lieder singer would have been proud of.

Mr. Nakamatsuís sovereign artistry produced the finest North Bay piano concert since the 2009 recitals of Valentina Lisitsa and Nareh Arghamanyan on the same stage.

Elenor Barcsak, John Boyajy, Gerald Blodgett, Victor Spear and Terry McNeill contributed to this review