Pianists Fan Favorites

Jonathan Mamora, piano

  • Frédéric Chopin (1810-1849) - Scherzo No. 2 in B flat minor, Op. 31 (1837) (10’)
  • Johann Sebastian Bach (1685-1750) - Toccata in D major, BWV 912 (1710) (12’)
  • Sergei Rachmaninoff (1873-1943) - “Lilacs,” Op. 21, No. 5 (1902) (3’)
  • Maurice Ravel (1875-1937) - Pavane pour une infante défunte (1899) (7’)
  • Alexander Scriabin (1872–1915) - Piano Sonata No. 4 in F-sharp major, Op. 30 (1903) (9’)
  • I. Andante
  • II. Prestissimo volando
  • I am honored to present these musical selections representing styles from the 1700s (Bach) to the early 20th century (Rachmaninoff & Scriabin). These selections have withstood the test of time as some of the more popular pieces both performed by pianists and listened to by audiences; discovering and rediscovering some of these pieces have proven to be quite an enjoyable personal journey on which I’ve embarked.
  • Frédéric Chopin (1810-1849) - Scherzo No. 2 in B flat minor, Op. 31 (1837) (10’)
  • While the world of classical music is filled with iconic composers, perhaps there isn’t one as consequential for piano music as Frédéric Chopin. The Polish pianist and composer pushed the boundaries for what was technically possible for the instrument, as well as expanding and even redefining genres, all while communicating the utmost of artistic sense and expression that gets to the heart of the human experience. His four Scherzos, written between 1833 and 1843, showcase his redefining and expanding of styles and genres; while the Italian word scherzo means “joke,” these pieces sound anything but. One hears--especially in Scherzo No. 2--a world that shifts between frantic, sinister darkness full of virtuosic running passages, and tenderhearted beauty with soaring melodies above.
  • Johann Sebastian Bach (1685-1750) - Toccata in D major, BWV 912 (1710) (12’)
  • Johann Sebastian Bach’s Toccata in D major, BWV 912 is one of seven Toccatas for Keyboard written in the early 1700s. Bach was the master of the late Baroque period whose compositions spanned from keyboard music (harpsichord, clavier, organ, etc.) to other instrumental music to larger choral works. He was also a master performer, able to improvise multi-voice counterpoint on the organ with fluidity and ease. The varying sections of the D major Toccata showcases this prowess of improvisation, with virtuosic passages up and down the keyboard, song-like recitative, and fugal areas, all while seemingly able to go to any harmony he chooses. It captures the inventiveness of young Bach that would flourish throughout his career.
  • Sergei Rachmaninoff (1873-1943) - “Lilacs,” Op. 21, No. 5 (1902) (3’)
  • The next three pieces were written within five years of each other (1899-1903), yet all feature different musical styles. Such was the case with music at the turn of the century, with some music hearkening the Romantic sensibilities of the 19th century, and some looking into both the present and the future. Sergei Rachmaninoff was a Russian composer whose lush harmonies, long-spanning melodies, and rich expressiveness still earns him a spot among pianists’ and audiences’ favorite composers. “Lilacs” is a transcription for piano of his artsong of the same name, depicting the delicateness of the flower.
  • Maurice Ravel (1875-1937) - Pavane pour une infante défunte (1899) (7’)
  • French composer Maurice Ravel, considered one of France’s greatest composers, wrote Pavane pour une infante défunte as a student at the Paris conservatoire. Evoking a slow processional dance, the piece was orchestrated by Ravel in 1910 and remains a standard among both piano and orchestral repertoire.
  • Alexander Scriabin (1872–1915) - Piano Sonata No. 4 in F-sharp major, Op. 30 (1903) (9’)
  • Russian composer Alexander Scriabin was a contemporary of Rachmaninoff, but his compositional style sought to relinquish the bounds and expectations of tonal harmony. The result is something that gives flight and flurry, reaching out to the cosmos…elements all heard in his Piano Sonata No. 4. Program notes by Jonathan Mamora

Acclaimed for his “most assured pianism,” and “natural, songful lyricism” (The Dallas Morning News), pianist and educator Jonathan Mamora strives to uplift and positively influence others using music as a means for service. An Indonesian-American and Southern California native now with a burgeoning performing career, Jonathan’s commitment to service is steadfast—whether playing in church or in the community or on the concert stage.

Applauded as “a rising star in the piano realm” (New York Classical Review), Mr. Mamora has performed throughout North and South America, Europe, and Asia, and he has enjoyed remarkable recent success, winning first prize at numerous prominent international piano competitions (IPC’s), including: Hilton Head IPC; Scottish IPC; Maria Canals Barcelona IPC; Olga Kern IPC (New Mexico); AntwerPiano International Competition; Dallas IPC; and the Palm Springs IPC (formerly the Virginia Waring). In May 2025, he was one of 30 elite pianists invited to compete in the Van Cliburn IPC in Fort Worth, TX.

His May 2023 debut recital at Carnegie Hall’s Weill Recital Hall drew great praise from the New York Concert Review: “Mr. Mamora’s playing itself is larger than life…(with) a technique so solid that it seemed at times that he couldn’t play a wrong note if he tried (and)…an encyclopedic array of dynamics and articulations.” He returned to Weill Hall in October 2025 for another critically praised recital presented by the HHIPC, and other current recital engagements include: the Bachauer Festival in Salt Lake City; Chopin Foundation of the US in Miami and Ft. Lauderdale; the Cleveland Museum of Art; Cliburn Festival America 250 in Ft. Worth; Green Lake Festival in Wisconsin; and the Savannah Music Festival.

Following his concerto debut at age 13 with the La Sierra University Orchestra, Mr. Mamora has gone on to perform with such orchestras as the Royal Scottish National Orchestra, Orquesta Sinfónica de Madrid, New Mexico Philharmonic, Orquesta Ciudad de Granada, and Santa Barbara Symphony, among others. Upcoming concerto engagements include: Hilton Head Symphony Orchestra, Greenville Symphony Orchestra, American Festival Pops Orchestra, Las Colinas Symphony Orchestra (TX), South Carolina Philharmonic Orchestra, and a return with the Royal Scottish National Orchestra.

Mr. Mamora has served as a church musician much of his life and currently serves as Organist at La Sierra University Church in Riverside, CA. He often performs as a collaborative pianist for vocalists, instrumentalists, ensembles, and choirs, and has received the Eastman ‘Excellence in Accompanying’ Award. He also values education as an important tool in music making and now serves as Director of Keyboard Studies at La Sierra University.

Jonathan Mamora is a candidate for the Doctor of Musical Arts in Piano Performance and Literature at the Eastman School of Music under the tutelage of Douglas Humpherys, whom he served as studio assistant. He received his Bachelor of Music from La Sierra University and his Master of Music from The Juilliard School. His previous piano teachers include Elvin Rodríguez and Hung-Kuan Chen, and organ teachers include Kimo Smith and William Porter.

About the Dame Myra Hess Concerts

The concerts are generously sponsored by the Paul M. Angell Family Foundation, the Illinois Arts Council and by individual donors.

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