The Miami International Piano Festival presented Jacob Mason in a solo recital at the Discovery Series in Miami Beach on January 27, 2024. I heard him many years ago when he was an immensely talented young student. He has developed into an outstanding pianist with solid technique, deep musical instincts, and an exceptional, proving mind that allows him to play from memory the most challenging music, old or new, without worry or hesitation.
He started with Bach's French Overture in B minor, a complex work rarely heard with the kind of confidence and clarity displayed by Jacob Mason. He has obviously given much thought to this work, making it a very personal statement. Though his Bach was always impressively well-played, it did not always adhere to historical conventions, which some critics may find objectionable. In the Overture, for example, Bach follows Lully's model of a grandiose Louis IV entrance: full sound and strong rhythm. The heavy ornamentation is Bach's desire to create more sound in the harpsichord. Jacob, on the other hand, projected a more free and contemplative playing. He avoided exuberance. At times, like in the Sarabande, he seemed to want to emulate the clavichord: small and intimate. The Courante was quietly lyrical, more like an Allemande. The Gavottes, Passepieds, and Bourées were absolutely delightful. Jacob was enjoying it so much that he even took the repeats of the Da Capos — not customarily done. The Gigue was playful, not the energetic rendition we often hear. Finally, the Echo was impressive. Near the end, there was a peripheral Jacobism, an improvisatory moment to finish this great work not with the usual spirited ending but rather a quiet conclusion.
Jacob Mason was less comfortable in Brahms' Chaconne arrangement for the left hand. I was happy to hear this admirable, faithful version of the Chaconne — preferable to Busoni's extravagant fireworks.
Jacob was in his natural habitat of rarely performed pieces where he excels. Each work has been sculpted with imagination and love. In the Preludes by Dennis Kam, he found the essence of its title: Lovingly, Tenderly, Hauntingly. He then moved to a pre-J. S. Bach work, Jean-Henri D’Anglebert’s Passacaille d’Armide de M. de Lully. Finally, he brought the exciting rhythms of Tumbao by the Cuban-American Tanya Leon. These composers may be new to most of us, but Jacob Mason's creativity brings them to life exquisitely.
Brahms's beloved Four Pieces Op.119 offered a way for his imagination and individuality. The Intermezzo in B minor was gorgeous, very slow, and heartfelt. A dubious moment came at the end when sixteen rests, meaning sighing, became unnecessarily long, disturbing the beautiful descending line. The intermezzo in E minor was beautiful throughout, except for the last note, the softest note, which was played surprisingly loudly. I don't know why. Jacob played the Intermezzo in C major exquisitely, save for some rhythmic hiccups at the end of the middle section.
There was a lot to admire in the Rhapsody in E-Flat. In general, Jacob seems averse to big, orchestral sounds, as is the case in the symphonic writing of this piece. It did not help that the tempo was slightly too fast, affecting the piece's character. The grazioso middle section was also too fast, preventing the song-like quality that was likely Brahms' intention. The high notes in the runs just before the recap did not come up in the recording; I don't know if it was the recording or the piano.
Jacob Mason was always extremely musical throughout the concert, which I believe was his main objective. Every pianist will find little things to disagree with another pianist, no matter how great, especially if one is, like Jacob, rebellious and enjoys testing tradition. However, it does not diminish Jacob Mason's distinction as an outstanding and thought-provoking pianist.
