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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
CHAMBER REVIEW
Petaluma History Museum / Saturday, December 31, 2011
Elizabeth Walter and Members of the SF Symphony

Chu-Pai-Walter Trio Playing Dvorak Dec. 31 in Petaluma (Lauren Silagyi Photo)

CHU-PAI-WALTER TRIO RINGS IN 2012 AT PETALUMA HISTORICAL MUSEUM CONCERT

by Terry McNeill
Saturday, December 31, 2011

Musical detours can bring unexpected surprises, and on New Year’s Eve this writer’s drive to Petaluma’s Cinnabar Theater party stopped early for chamber music at the downtown Historical Museum. Sponsored by the Museum and the Sky Hill Cultural Alliance, the concert with gratis holiday refreshments featured two string players from San Francisco and local pianist Elizabeth Walter.

Handel’s Passacaglia, the last movement of the G Minor Harpsichord Suite (BWV 432) was played in John Halvorsen’s transcription by violinist Yun Chu and cellist Shu-Yi Pai. The acoustics favored Ms. Pai’s rich sound and she frequently covered Mr. Chu in the early variations, the latter’s unsteady with high register pitch problems. Things finally settled down as the compelling counterpoint unfolded, the pizzicato duo playing and deft phrasing impressive. The last variation was a frenzy of speed and notes and brought a loud ovation from the nearly full house.

Sky Hill Alliance Director Elizabeth Walter was the evening’s pianist, programming three Chopin works and Ginestera’s Op. 22 Sonata. Ms. Walter is a forceful artist with often a forced tone, the hall’s instrument assisting with absence of treble overtones. The F Minor Study from the Trois Nouvelles Etudes was played with the right-hand melody triplets carrying well over the accompaniment, and briskly, as was the following C Minor Nocturne from Op. 48. A powerfully dramatic work with imposing octaves, the Nocturne received a capable but less-than-polished performance but one that conveyed agitation. Cascades of sound also characterized Ms. Walter’s second Chopin Ballade in F, Op. 38. The alteration of folk-like charm and sonorous outbursts had the requisite drive from the artist’s strong fingers and she held the damper pedal, after the long fortissimo carnage, into the eight-measure coda. An innocent and effective closure.

Ending the first half was the Ginastera from 1952, an odd choice for a New Year’s Eve concert with social components. The Classical Sonoma critic’s rule book advises that the artist selects the works and the reviewer’s job is to report on the playing. The Sonata, played from score, was a brawny and loud component to the evening and one’s mind turned to a bevy of more cordial works to spotlight the musical season. That said, the playing was the best solo work of the evening, the memory stumbles in the Chopin vanishing. In the first two movements the swirl of repeated notes, often in a toccata style, were distinct and recall Ginastera’s earlier Danza del Gaucho Matrero from the Danzas Argentinas. Arpeggiated chords in the Adagio molto appassiona had a mystical character reminiscent of the famous six-note Scriabin Prometheus chord, and the pianist caught the languorous nature of the music. The precipitato finale was potent, the off-beat accents contributing to the momentum and climatic conclusion. Not exactly party music but clearly an assured reading by Miss Walter. On this evidence she is a Ginastera champion.

Dvorak’s popular Op. 90 Trio (Dumky) comprised the second half and had a great opening, Mr. Chu’s singing line leading the way and Ms. Pai’s cello again forceful. This six-movement work from 1890 is jammed with sharp contrasts, alterations of yearning melody and wild gaiety. There was a lovely threnody in the second movement’s piano-violin duo and lyrical, bucolic playing in the vivacious Andante. The rolled chords at the end were chaste Dvorak and mesmerizing in the Trio’s hands.

More movements unfolded, rhapsodic and Bohemian in the fourth and a fierce dance in the concluding Maestoso. Here Ms. Pai’s cello rumbled and Ms. Walter’s piano echoed the counterpoint and vitality.

Dvorak’s Trio is a unique work, far different from contemporary trios of Mendelssohn, Rubinstein, Brahms and Tchaikovsky, and the Chu-Pai-Walter ensemble gave an impassioned and lucid performance. No encore was offered.