What the Critics Say
1999-2000
"Well, let's see - gargantuan technique, awesome timing, oceanic depth,
volcanic fire and more fun than the whole Marx Brother's catalog. Yup,
pianist Jon Kimura Parker is back in town with the San Antonio Symphony."
- San Antonio Express-News, February 26, 2000
(San Antonio Symphony, Wilkins, Rachmaninoff Rhapsody on a Theme of Paganini)
"Parker gave a performance that was so fresh, so scintillating and so
technically dazzling that the only possible response was a standing ovation
- one of the biggest ovations to ignite Benaroya Hall this season."
- Seattle Times, February 11, 2000
(Seattle Symphony, Rachmaninoff Rhapsody on a Theme of Paganini)
"Jon Kimura Parker...has never performed as intimately and imaginatively in
Portland as he did Sunday. Parker played like a one-man orchestra, calling
forth different colors and textures as the music required. "
- The Oregonian, January 31, 2000
(Recital Program)
"It is a treat to be in the hall when a spectacular young pianist throws
himself into an old warhorse of a concerto and makes it his own...what made
this performance so edge-of-your-seat engrossing was how Parker and the
orchestra played off each other."
- Tampa Times, November 6, 1999
(Florida Orchestra, Silverstein, Rachmaninoff Piano Concerto #2)
"Attendance - 3,300 - was better than any seen at the Philadelphia
Orchestra summer concerts so far. Jon Kimura Parker came out to play the
solo part in Rachmaninoff's fleetest orchestra piece...the soloist has a
piano tone that's round as a pearl, and his efforts to shade and color
were not muddied by amplification. Parker...plays with style and
conviction."
- Philadelphia Inquirer, June 30, 1999
(Philadelphia Orchestra, Macal, Rachmaninoff Rhapsody on a Theme of Paganini)
"Gary Hoffman must be counted among the world's best cellists. He was
fortunate to have pianist Jon Kimura Parker as his partner. The Canadian
pianist has a big, relaxed style that is matched by a plushly upholstered
sound. But he is also a superb chamber musician. His delicacy of fingerwork,
subtle shading of tone color and shapely phrasing highlighted, rather than
masked, the refined lines of the cello."
- Baltimore Sun, June 26, 1999
(Beethoven Sonata for Piano and Cello in A Major)
"If nothing more exciting happened in the SCO's all-Beethoven series
than Jon Kimura Parker's electrifying account last night of the Third Piano
Concerto, than that would be excitement enough. Putting together SCO chief
conductor Joseph Swensen, who is mercurial enough in his own right, with
the supremely dangerous Mr. Parker was rather like blending two highly
volatile substances. You could hardly have missed its effect on the near-capacity
audience, which didn't so much erupt as spontaneously explode with an ovation
for the pianist."
- The Herald (Glasgow), April 12, 1999
(Scottish Chamber Orchestra, Swensen, Beethoven Piano Concerto #3)
"...Pianist Parker Brings Audience to Its Feet" - "From the initial
flourish of chords and octaves, this pianist had his listeners' undivided
attention. The sheer inundation of fireworks with which Parker flooded
the hall was by no means a gratuitous display of rock-solid technique.
Yes, he copiously emblazoned the composition and the piano. But Parker
also spewed unparalleled musicianship. This was especially evident in the
lyrical central movement. And just when one thought this pianist and his
instrument could surrender no more, Parker went atomic in the furiously
fast finale. Every iota was enunciated with turbo-charged energy. Concertgoers
exploded into a spontaneous standing ovation. Parker generously gave his
adoring crowd an Art Tatum miniature as his encore."
- Salt Lake City Tribune, March 29, 1999
(Utah Symphony, Laredo, Mendelssohn Piano Concerto #1)
"Parker Moves Freely From the Sublime to the Ridiculous" - "The Canadian
pianist ventured into the depths of the classical repertoire to shape a
gripping performance of Beethoven's "Appassionata" Sonata and later came
way up for air to employ his boundless virtuosity in none other than the
theme from "The Simpsons". He is a musician of eclectic taste who treats
many types of music with uncompromising integrity. Where Beethoven requires
utmost nobility of phrasing and tone, the pianist was there...in the finale,
Parker immersed himself in the whirlwind...it took the breath away. His
Mozart abounded in deftly gauged nuances and crisp articulation. Canadian
composer Alexina Louie's "I leap through the sky with stars"...burst with
delicate figures in the right hand and vehement gestures in the left hand.
A red-hot performance of Chick Corea's "Got a Match?"...the transition
to Chopin seemed utterly natural. Then came "The Simpsons", a madcap narrative
in which Parker was charismatic and sublimely ridiculous."
- The Cleveland Plain Dealer, March 12, 1999
(Oberlin Recital)
"Pianist Parker And DSO Play With Power And Poetry" - "Mr. Parker's
uncommonly poetic slow movement...The Canadian pianist gave a heavyweight
performance, strong on drama and with many passages to savor. The cadenza...was
a miniature drama in itself, so beautifully wrought that it almost seemed
magical...It was a superior performance."
- Dallas Morning News, Feb 19, 1999
(Beethoven Piano Concerto #3 with DSO, Litton)
"Parker bounded onstage, grabbed the microphone and engagingly demonstrated
Schumann's theory of thematic contrast...a complete pianist...his grasp
of phrasing transformed small moments into large ones. Schumann's lyrical
melodies sang, and Parker voiced the chords beautifully. Let's bring him
back."
- The Oregonian, February 8, 1999
(Oregon Symphony, dePreist, Schumann Piano Concerto)
"Parker Puts Pause in Time" - "Parker brought the perfect touch to
every phrase - just enough power...in the majestic first movement; a shimmering
translucent quality to the delicate melodies of the slow second movement;
(and) an almost manic playfulness in the rondo. Throughout, his performance
was full of instances of breath-stopping beauty...you're convinced you
are hearing this music as it is being created."
- Tulsa World, January 18, 1999
(Tulsa Philharmonic, Jean, Brahms Piano Concerto #1)
"No technical challenge is too tough for this artist, but his real
artistry comes from what he does with all those notes. His immaculate sense
of phrasing... is balanced by a sensitivity of touch. Parker's sense of
humor and natural showmanship...make any of his performances a delight."
- The Honolulu Advertisor, January 12, 1999
(Honolulu Symphony, Wong, Mendelssohn Piano Concerto #1)
Photo : Lindsay Lozon
Copyright Jon Kimura Parker 2003