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Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
CHAMBER REVIEW
SRJC Chamber Concerts / Friday, April 16, 2010
Amelia Piano Trio

Amelia Piano Trio

POISED ON THE EDGE OF GREATNESS

by Steve Osborn
Friday, April 16, 2010

For its program at Santa Rosa’s Newman Auditorium on April 16, the Amelia Trio opted for three unknown piano trios by known composers: Debussy, Bernstein and Chopin. All three trios are the works of teenagers, composed around the ages of 18 (Debussy), 19 (Bernstein) and 18 (Chopin). Although they all qualify as juvenilia, each trio already contains many elements of the composer’s characteristic style.

Those characteristics were evident during the opening bars of the Debussy, which were suffused with his signature impressionist style. Lush and sensuous tones predominated, heightened by the Amelia’s utterly relaxed playing. The musicians were clearly well rehearsed, and the string players rarely consulted their scores. Instead of burying their heads in notes, they looked at each other meaningfully while filling the room with gorgeous sound. Glissandos were the order of the day. Violinist Anthea Kreston was remarkably fluid and assured, and her cellist husband Jason Duckles matched her with a beautiful tone that carried throughout the acoustically resonant space.

Complementing this elegant couple was the diminutive pianist Rieko Aizawa, who played with the lid fully open, the better to control her dynamics. She is a consummate chamber musician, never letting her instrument overpower the strings, but rising to the soloistic occasion when circumstances demand.

All three played the Debussy to the hilt, moving from the expansiveness of the first movement, to the well articulated pizzicatos of the second, to the enchanting cello solo in the third, and finally to the cascading rhythms and forward propulsion of the last. It was a great performance, and the music was clearly like Debussy, but it wasn’t one of the later masterpieces that make his work so distinctive. Instead of real Debussy, it was a debut.

The situation was much the same with the Bernstein trio, which he composed while an undergraduate at Harvard. The sparse beginning led to frantic string work over a steady piano. Here Aizawa’s playing stood out, her lines articulated with an assured attack. The piano is, after all, a percussion instrument, and she brought those qualities to the fore while acting as a foil to the fluid string work.

The Bernstein unfolded as one might expect for a work written in 1937, when the jazzy rhythms of New York City were still relatively new. There was lots of pizzicato, lots of starts and stops, lots of playfulness. Again, it wasn’t a masterpiece, but it contained many of the familiar styles that bloomed in West Side Story and On the Town.

As for Chopin, the rarity of the trio performance was made extra rare by Kreston’s decision to play the violin part on a viola. In a witty introduction, she explained how Chopin himself had expressed the view that he should have written the violin part for viola, given that it “would accord better with the cello.” Indeed, most of the action occurs on the D and A strings, a domain that the viola shares with the violin. Based on this evidence, Kreston transcribed the violin part to the viola, retaining almost all the original notes, with only occasional forays downward.

Whatever the historical authenticity, Kreston demonstrated that she is a consummate chin player, equally at home on the violin, viola, or any other instrument that might fit under her chin. Her viola did indeed accord beautifully with the cello, particularly in the second movement, which features an extended duet between the two instruments.

As is inevitable with Chopin, however, the piano eventually came to the fore. After three movements of relatively balanced music, the fourth opened with a big piano solo and went on from there. It’s the only movement that really sounds like Chopin, with evocative Polish dance themes emerging from a filigree of notes. Both Kreston and Duckles stood aside as Aizawa played Chopin to the max. Like everything else on the program, it was a great performance, offering a lucid view of the composer’s early strivings toward a mature style.

That view summed up the entire performance. Three composers poised on the edge of greatness, played by a trio that is just beginning to hit its prime.