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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
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.