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Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Symphony
DVORAK AND TCHAIKOVSKY ORCHESTRAL COLOR AT SO CO PHIL SEASON OPENER
by Terry McNeill
Saturday, September 30, 2017
A concert with curious repertoire and splashy orchestral color launched the 19th season of the Sonoma County Philharmonic Sept. 30 in Santa Rosa High School’s Auditorium. Why curious? Conductor Norman Gamboa paired the ever-popular Dvorak and his rarely heard 1891 trilogy In Nature’s Realm, with t...
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shen’s Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
CHAMBER REVIEW
Oakmont Concert Series / Thursday, July 10, 2008
TILDEN PIANO TRIO

TILDEN PIANO TRIO

TILDEN TRIO IN TOP FORM AT OAKMONT

by Terry McNeill
Thursday, July 10, 2008

Classical music in the North Bay has lately been blessed by a number of piano trio concerts, including Roy Bogas’ Trio (Gualala Arts Center), Eric Zivian’s Trio (Occidental Chamber Series), the Sequoia Trio from SRJC and of course the preeminent Trio Navarro from Sonoma State. The Tilden Trio, the newest kids on the block, made an auspicious entrance July 10 at Oakmont and quickly demonstrated they belong at the top of their profession.

Formed in 2004 by former Juilliard classmates, the Tilden began their concert on a hot day before 140 mostly Oakmont residents with an appropriately warm reading of the Allegretto in B-Flat of Beethoven, WoO 39. There are touches of the “Spring” Violin Sonata here, and it was an auspicious opening, almost bucolic. The instrumental blend was smooth and remained so throughout the afternoon.

Violinist Sarn Oliver introduced the second work, a piece he wrote while living in the Berkeley hills, aptly titled “Tilden Park.” Composed in 2005, the piece continued the ambiance of the Beethoven, both in the gracious unfolding of short themes and in sticking to tonality. Oliver’s violin was often in a high register, though insistent chord projections by pianist June Choi Oh moved things along when needed. There was no hurry to get anywhere with the piece, built in sections rather than movements. There are hints of Barber in “Tilden Park,” all to the good, and it received an idiomatic interpretation. Cellist Peter Wyrick was outstanding. He’s not a flamboyant instrumentalist, but he produces a perfectly poised stream of sound, rich and warm; there isn’t a dry note in his bow. As the associate principal cellist of the San Francisco Symphony, he’s a local treasure, and it would be a treat to hear him in recital.

The first half ended with the popular Ravel Trio in A Minor, written at the outset of the First World War, when the composer resided in the French Basque commune of Saint Jean de Luz. The percentage of masterpieces from Ravel’s pen is abnormally high, and the piano trio is no exception. It is an orchestral work, with rich textures and lots of coloristic effects. The first movement featured Wyrick’s expressive rubati and Oliver’s high violin line, with a wide vibrato. Much of the thematic material was reminiscent of Ravel’s “Mother Goose Suite.” The movement received an elegant reading and a lovely, long ending fermata.

The Pantoum movement has tricky pizzicatos and an oriental thematic cast, and Choi Oh seemed to want a subdued sound throughout, perhaps too much so. The subdued tones continued into the Passacaile, a dignified movement with lush cello work, almost a threnody. The Tilden then jumped into the finale (Anime) with just the right blend of instrumental sparkle, especially the long trills from Oliver. The many ascending scales in the piano part could have been more distinct, but perhaps were of a piece of Choi Oh’s supportive and unassertive pianism.

Following intermission, the Tilden played the D Minor Trio by the 19th century Russian composer Anton Arensky. It’s been a long time since I’ve heard a live performance of this favorite work—all the way back to Pennario, Heifetz and Piatigorsky in Los Angeles. Performers usually opt for either a smooth and fast approach (Beaux Arts Trio) or an old-fashioned, voice-leading Russian style (Borodin Trio). Happily, the Tilden opted for mostly the second rhetoric, playing the long first movement with a rich blending of the instruments, albeit with fleeting pitch problems from the violin. There is some Dvorak in this movement, more so in the ensemble rather than in the noble opening theme. Wonderful.

The Scherzo found Choi Oh providing the structure for a movement that does need clarity. The Elegia (Adagio) was sung in opulent colors by Wyrick, mostly pianissimo. In the concluding Allegro non troppo, a theme from the first movement suddenly reappears, cementing the cyclical nature inherent in much of the work. The Tilden was of one mind in this movement, and it was convincing. A student of Rimsky-Korsakov, Arensky was acknowledged to be under the influence of Tchaikovsky and Rubinstein. Rimsky-Korsakov thought his student would soon be forgotten, but the D Minor Trio, in the hands of the Tilden, belies his prediction.

A single encore was offered: Piazzola’s tango “Oblivion.” Surprisingly, this luxuriant piece has had previous Oakmont hearings, once as a chamber work and once as a piano solo. The audience, after the exuberance of the Arensky, was justifiably entranced.

The Tilden is a polished trio with a glowing, cohesive sound. With this one concert, it has vaulted into the front rank of chamber music groups appearing in the North Bay.