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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
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.