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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
Oakmont Concert Series / Thursday, August 12, 2010
Lincoln Piano Trio

Chicago's Lincoln Trio Playing Beethoven

A DRAMATIC THIRD TIME FOR THE LINCOLN AT OAKMONT

by Terry McNeill
Thursday, August 12, 2010

Beginning the fall chamber music season August 12 in Oakmont, Chicago’s Lincoln Trio played a disparate and demanding program with consummate artistry before 200 in Berger Auditorium.
But it was not the previously announced program, as the group, in their third appearance on the Oakmont Concert Series, dropped the Trio by contemporary composer Lara Auerbach, and began the first half with Bloch’s Three Nocturnes for Trio, written in 1924.

But no matter, as the playing of the tightly-knit Bloch work, each piece well under three minutes, was memorable. Using mutes throughout, the somber and elegiac First Nocturne spotlighted the Lincoln’s exact sonic balance. The bucolic and lyrical Second Nocturne was indeed a seductive night piece, and moved easily to the finale, an initial whirlwind of nocturnal sound leading to a contemplative ending. Clearly the audience was in for an afternoon of first-cabin chamber music.

Beethoven’s early Trio in B-Flat Major, Op. 11, closed the first half, and received a high-energy reading from the first frantic opening chords. Pianist Marta Aznavoorian’s upward-bound scales were always crystalline, the passages a proverbial string of pearls, and she traded themes in the opening Allegro con Brio with cellist David Cunliffe. The cello opens the lovely Adagio and Mr. Cunliffe used subtle ritards and chaste phrasing in the noble melody to great effect. A slow descending run in the piano ended a glorious movement.

The 1797 composition is subtitled “Gassenhauer” because of a street song used in the concluding Allegretto, and is a theme with variations. The Lincoln’s playing established (if such a thing was needed) that the Bonn master was the most adept writer ever of the variation form, and the music unfolded effortlessly and with precise instrumental attacks and faultless string pitch.

The second part was devoted almost entirely to Smetana’s big G Minor Trio, Op. 15. There is plenty of Schumann here, and more than a little Liszt, and the work is sprawling and in less virtuosic hands can lack cohesion. The Lincoln Trio nailed it, synchronizing their bowings and phrase endings as one instrument. It opens with a Moderato assai violin solo, fetchingly played by Desirée Ruhstrat, and Ms. Ruhstrat’s top notes were beams of light all afternoon. As I remember from the last Lincoln performance in Berger, she doesn’t seek a strong leadership role, wide vibrato or a big tone. But as one musician said, it was “big enough.” The piano occasionally covered the other instruments, Ms. Aznavoorian’s virtuosity in flood tide.

The middle movement is a mix of Czech folk songs and has echoes of Brahms, with a curious ending, still in the Allegro man non agitato tempo marking. Speed and power dominated the finale, Brahmsian in depth and recalling the angst of his Op. 60 Piano Quartet, written 20 years later than the Smetana. Was a debt due to this Czech composer, and not to a favorite of Brahms, Dvorak? It was a soaring, joyous and surprising succinct performance, the ersatz funeral march stated with panache, and generated a standing ovation even though one more work remained to be played.

Brahms returned to complete the program, in a transcription of his Hungarian Dance No. 1. The 21 Dances are heard in all sorts of orchestrations and small-group versions, stemming from the original for two-piano, and received a performance of singular rhythmic drive and Magyar spice. Visions of old Vienna (and Budapest) were in the air.

One encore was offered, a Piazzola tango. Piazzola’s work is undergoing broad interest these days, often as encores, and there have been several of the tangos played recently at Oakmont by Gila Goldstein and Gustavo Romero. But here, as throughout this superb recital, the Lincoln showed their fastidious attention to ensemble and integrated sound. The whole was indeed greater than the sum of the parts.

Impresario Robert Hayden contributed to this review.