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Recital
IMPECCABLE ARTISTIC TASTE IN ANTON NEL SRJC RECITAL
by Terry McNeill
Sunday, October 19, 2014
Reporting on a recital by the Austin-based pianist Anton Nel is a predictably satisfying task. His playing Oct. 19 in SRJC’s Newman Auditorium mirrored a recital on the same stage nearly two years ago and showcased a high level of professionalism and artistry. Beginning with Mozart’s D Major "Dupor...
Symphony
BOUNDLESS BAROQUE ARTISTRY IN LIVE OAK SCHROEDER HALL CONCERT
by Joanna Bramel Young
Sunday, October 19, 2014
On October 19 the Live Oak Baroque Orchestra, directed by baroque violinist Elizabeth Blumenstock, appeared in the first of several concerts it is to present at Schroeder Hall in Sonoma State University’s Green Music Center. The new 250-seat recital space is the perfect venue for chamber music, whi...
Chamber
AUTUMNAL BRAHMS IN WEILL CHAMBER MUSIC CONCERT
by Nicki Bell and Sonia Tubridy
Saturday, October 18, 2014
If you were in Weill Oct. 18 you might have experienced heaven, a Brahms heaven, when New York’s Chamber Music Society of Lincoln Center played an all-Brahms concert in the Hall’s MasterCard Performance series. It was late Brahms which means rich emotional expression and deep and fluid themes. The...
Recital
PIANISM OF SUBSTANCE AND CONTROL
by Terry McNeill
Thursday, October 16, 2014
Israeli pianist Einav Yarden has had several past Sonoma County appearances, but her Oct. 16 Music at Oakmont recital exhibited a new and attractive level of resolute programming, instrumental mastery and impressive musicianship. She played three substantial works, including the opening Second Engl...
Symphony
BEYOND THE GOLDEN GATE
by Terry McNeill
Thursday, October 16, 2014
Three works composed within three years of each other were programmed in the San Francisco Symphony’s concert in Weill Hall on Oct. 16, but each was sharply different. Before a nearly full house, conductor Stéphane Denève opened with Barber’s iconic Adagio for Strings, Op. 11, in a compelling but ...
Symphony
LATE-INNING HEROICS
by Steve Osborn
Sunday, October 12, 2014
Much like a home baseball team that scores the winning run in the bottom of the ninth, the Santa Rosa Symphony saved the best for last in its Sunday afternoon concert on Oct. 12. They led off with a tentative but ultimately captivating reading of Richard Strauss's "Till Eulenspiegel's Merry Pranks,...
Recital
MAGICAL GUITAR MASTERY IN KANENGISER'S SCHROEDER RECITAL
by Chloe Tucker
Friday, October 10, 2014
William Kanengiser is known to many in the classical guitar world as one of today’s most virtuosic players, and his recital October 10 in Sonoma State’s new Schroeder Hall was a fine testimony to his stellar reputation. Mr. Kanengiser took the stage with all the charming felicity of a player who si...
Symphony
PROPULSIVE BERLIOZ AND CONSUMMATE CONDUCTOR STAR AT MARIN SYMPHONY
by Terry McNeill
Tuesday, September 30, 2014
It’s not an easy task to upstage the virtuoso cellist Zuill Bailey, but Marin Symphony conductor Alasdair Neale did it convincingly in a Sept. 30 concert at the Marin Center Auditorium. Mr. Bailey didn’t easily relinquish the starring role and played an eloquent and urbane performance in St. Saëns’...
Symphony
INTOXICATING ORCHESTRAL SONORITIES
by Terry McNeill
Sunday, September 28, 2014
For the first Sunday afternoon concert of their 16th season, on Sept. 28, the Sonoma County Philharmonic presented an all-Russian program that spotlighted intoxicating orchestral sonorities and heroic conducting from Norman Gamboa. He opened with a stunning performance of Kabalevsky's snappy overtur...
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...
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