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Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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...
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.