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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.