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Choral and Vocal
EARLY CHRISTMAS SEASON TRIUMPH FOR 24 ANGELS IN WEILL
by Sonia Morse Tubridy
Sunday, November 27, 2016
Weill Hall Nov. 27 was packed with an audience of young and old excitedly waiting for an early holiday concert by the Vienna Boys Choir, and this esteemed Choir is a five-hundred year institution which is based in a school of 100 choristers. Four touring groups divide their time between studying and...
Symphony
SENSUAL OPERATIC BON BONS AT SO CO PHIL CONCERT
by Alan Bloom
Saturday, November 19, 2016
Music Director Norman Gamboa never fails to come up with interesting programs for his Sonoma County Philharmonic concerts. It was all opera music for the second concert set of the 2016-2017 season Nov. 19 in the Santa Rosa High School Auditorium. From the romantic opening swells of the Berlioz’ Ov...
Symphony
ORION WEISS TAKES BARTÓK AT THE SPEED OF LIGHT
by Steve Osborn
Sunday, November 06, 2016
Gifted pianists are everywhere these days, but few have the prodigious speed, stamina, and musicality of Orion Weiss. He exhibited all these qualities in a memorable rendition of Béla Bartók’s second piano concerto with the Santa Rosa Symphony Nov. 6 in Weill. Weiss is a no-nonsense pianist. He sea...
Symphony
TADDEI TRIUMPH IN VSO SEASON OPENING CONCERT
by Elizabeth Warnimont
Sunday, October 30, 2016
Vallejo Symphony Orchestra's guest soloist Sara Davis Buechner wowed her audience Oct. 30 in a stellar performance of Prokofiev’s Third Piano Concerto, the second of three pieces comprising the symphony’s season-opening performance in Hogan Auditorium and the debut of its new music director, Marc Ta...
Chamber
TASTY TRIO NAVARRO CONCERT WITH SRS WIND VIRTUOSI
by Terry McNeill
Sunday, October 23, 2016
SSU’s resident Trio Navarro has a long history of presenting diverse programs in the piano trio format, with occasional out-of-area artists joining the mix. This familiar configuration was altered in an Oct. 23 Schroeder Hall concert with the deletion of the violin part and the addition of two ster...
Recital
SOUND AND FURY IN MATSUEV WEILL HALL RECITAL
by Terry McNeill
Saturday, October 22, 2016
A touring virtuoso’s reputation often precedes him or her, and usually that’s a good thing. The reputation of a Renée Fleming or a Yo Yo Ma can guarantee a sold out hall, and possibly a great concert. But not always, and so there was some concern at Russian pianist Denis Matsuev’s Oct. 23 Weill re...
Chamber
TRIO VALTORNA'S JAUNTY EXPLORATIONS AT OAKMONT CONCERT
by Terry McNeill
Thursday, October 20, 2016
New York’s Trio Valtorna came to Music at Oakmont’s Berger Auditorium stage Oct. 20 with three disparate works, and in two of them instrumental sonic continuity was not a main goal. But it was in the second half’s seminal piece, Brahms’ E-Flat Major Trio (Op. 40) for horn, violin and piano, that br...
Recital
ARTISTRY AND AMPLE RELAXED CHARM AT PERLMAN RECITAL IN WEILL
by Terry McNeill
Thursday, October 20, 2016
Itzhak Perlman has fashioned a career that encompasses more than virtuoso violin performance, and includes teaching, narrating musical documentaries, score editing, humanitarian projects, charity events and an often an easy “ah shucks” demeanor that is always beguiling. With pianist Rohan de Silva ...
Recital
MORGAN'S ORGAN VIRTUOSITY SHINES IN ALL BACH RECITAL IN SCHROEDER
by James Harrod
Sunday, October 16, 2016
Robert Huw Morgan, Stanford University’s consummate organist, returned to the Green Music Center’s Schroeder Hall October 16 to play a thrilling recital of great Bach organ music from mostly Bach’s Cöthen period. Professor Morgan’s eclectic program included the Prelude and Fugue in E Flat Major, B...
Symphony
BAROQUE NO MORE IN STIRRING BEETOVEN CONCERT IN WEILL
by Terry McNeill
Saturday, October 15, 2016
Seasoned listeners for Beethoven’s symphonies and concertos know that interpretations can follow contemporary fashion, from the heroic and sonorous grand manner readings of the late 19th and early 20th centuries to the architectural approach after WW II, and even conductor Roger Norrington’s recent ...
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 Bay’s 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 Rameau’s 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 didn’t sound, perhaps sacrificed for the sake rhythmic energy. A perfect piece to start the program.

Brahms’ granitic C Major Sonata came next, probably a local premiere as it’s rarely performed in favor of the F Minor Sonata or the Handel Variations. It’s 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 pianist’s 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 everyone’s 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 “owns” and one that he has recorded and played all over the world. The ne plus ultra Op. 22 is Hofmann’s 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 work’s 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 Chopin’s music is poetic song, and here song was combined with technical mastery that was convincing in every way. Clearly Mr. Nakamsu’s strength is in lyrical playing. Give him a nice melody and he will make you swoon.

Liszt’s transcription of Schumann’s song “Widmung” (dedication) was the only encore, and it received an opulent performance that any great German lieder singer would have been proud of.

Mr. Nakamatsu’s 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