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Recital
DRAMATIC DIVA SINGS WORKS OF AMERICAN COMPOSERS IN WEILL
by Vaida Falconbridge
Sunday, April 13, 2014
After opening her April 13 Weill Hall recital with the bright “The Year’s at the Spring,” probably Amy Beach’s best-known song, soprano Deborah Voigt paused for a moment to say to the audience, “When we were putting the program together, we had no idea it would be so apropos!” Continuing with the ...
Recital
RUSSIAN PIANIST, RUSSIAN MUSIC, RUSSIAN DRAMA
by Terry McNeill
Sunday, April 13, 2014
In the season’s penultimate Sonoma Classical Music Society concert on Sunday afternoon, April 13, Russian pianist Anastasia Dedik played an all-Russian program that was heavy on drama with just a modicum of lyricism. Two Rachmaninoff Etudes Tableaux opened the program, the E-Flat Minor from Op. 33 ...
Chamber
THEMATIC OPULENCE FROM THE TRIO NAVARRO
by Terry McNeill
Sunday, April 06, 2014
Northern California’s Trio Navarro presented just two works in an April 6 Weill Hall concert, an event with consummate playing, inspired drama and ample thematic richness. Schubert’s B-Flat Major Trio, D. 898, was the evening’s highlight and was familiar fare for the estimable Navarro. The wonderfu...
Chamber
LUSH ZEMLINSKY AND A PREMIERE IN ARIADNE'S WEILL CONCERT
by Nicki Bell
Friday, April 04, 2014
Trio Ariadne played a riveting concert April 4 in Weill Hall as part of Sonoma State’s Music Department Spring Series. This concert had something juicy for all musical tastes. The program spanned centuries and moods with a Beethoven pot pourri, a world premiere from an Icelandic composer, and a lus...
Recital
WARM SPRING MUSIC AND ART IN CAS ORGAN RECITAL
by Jim Harrod
Sunday, March 23, 2014
Spring brought flowers and the virtuoso organist Faythe Freese to play a joyful recital on March 23 at Santa Rosa’s Resurrection Parish. Both the artist and the beautiful spring weather were most welcome, and the event was part of the Creative Arts Series. Ms. Freese, Professor of Organ at The Un...
Symphony
A TOUR DE FORCE OF SONIC SPLENDOR
by Terry McNeill
Sunday, March 23, 2014
On paper the Santa Rosa Symphony's March 23 concert in Weill Hall looked promising and even provocative, with a world-premiere concerto, a famous solo violist and two flashy Russian orchestral works. But as often is the case, in unexpected ways the whole was not equal to the sum of the parts. Behza...
Chamber
GLASS TOWER SHINES IN CATALYST QUARTET CONCERT
by Linda McLaughlin
Tuesday, March 18, 2014
A concert produced by Brave New Music and featuring the Catalyst Quartet March 18 in Healdsburg’s SHED Grange Hall was a delight from almost any standpoint, or sitting point. Unlike the first Brave New Music concert last November, this time there were no visual accompaniments (film) behind the perfo...
Symphony
NEW-WORLD ORCHESTRAL MASTERY
by Terry McNeill
Saturday, March 15, 2014
Orchestral splendor and dynamic contrast were the hallmarks of the American Philharmonic's (APSC) third concert of the 2014 season March 15 before an enthusiastic audience of 400 in the Santa Rosa High School Performing Arts Center. With the concert titled "From the New World," the music needed to d...
Symphony
AMPLE EVIDENCE OF A BRIGHT FUTURE
by Terry McNeill
Friday, March 14, 2014
An inaugural concert for a new area orchestra is a special deal, and the fledgling North Bay Sinfonietta’s March 14 concert in Santa Rosa’s First Presbyterian Church gave ample evidence of a bright future. Organized and conducted by Cynthia Weichel, the Sinfonietta’s 30-plus members filled the cram...
Chamber
GHOSTS AND GYPSIES USHER IN THE SPRING
by Terry McNeill
Thursday, March 13, 2014
As a harbinger of spring, the Boston Trio brought sprightly piano trios of Haydn and Beethoven to their Music at Oakmont concert March 13 in Berger Auditorium. Happily the long and weighty Dvorak F Minor Trio, Op. 65, didn't manage to dampen the warm afternoon's ambiance. The Dvorak performance was...
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