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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
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.