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Symphony
MASKED SANTA ROSA SYMPHONY CARRIES ON BRILLIANTLY
by Steve Osborn
Sunday, November 15, 2020
In some ways the Santa Rosa Symphony’s Nov. 15 concert on YouTube resembled a Conceptual Art performance from the 1970s. On display were about 30 masked orchestral musicians playing six feet apart from each other on stage, some of them separated by plexiglass barriers. In the 1970s, the concept behi...
Chamber
SPLENDID STRINGS IN A SUNLIT GARDEN
by Abby Wasserman
Sunday, November 1, 2020
A sun-drenched autumn afternoon, a Marin County garden and six superb string players from the Santa Rosa Symphony were manna from heaven to a pandemic-weary audience starved for live music. The sextet of Santa Rosa Symphony musicians performed to a small group of 20 Nov. 1, the day after Halloween....
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...
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.