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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
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.