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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
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.