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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital itís easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handelís seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if itís the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcellís Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the schoolís Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossiniís ďWilliam TellĒ overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonicís Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
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...
CHAMBER REVIEW
Music at Oakmont / Thursday, March 13, 2014
Boston Piano Trio. Heng-Jin Park, piano; Irina Muresanu, violin; Jennifer Culp, cello

Boston Trio at Oakmont March 13

GHOSTS AND GYPSIES USHER IN THE SPRING

by Terry McNeill
Thursday, March 13, 2014

As a harbinger of spring, the Boston Trio brought sprightly piano trios of Haydn and Beethoven to their Music at Oakmont concert March 13 in Berger Auditorium. Happily the long and weighty Dvorak F Minor Trio, Op. 65, didn't manage to dampen the warm afternoon's ambiance.

The Dvorak performance was the most memorable, with a perfect unison in the somber opening phrase from violinist Irina Muresanu and cellist Jennifer Culp, leading quickly to surging themes set out by pianist Heng-Jin Park. This is an episodic movement, at times sounding like Brahms, and it was played with considerable power and insight. Ms. Muresanu's tone is not big, but her intonation is accurate, contrasting well with Ms. Culp's rich lower register and frequent portamento.

The following Allegretto was played in a bouncy fashion, the violin and cello alternating brief riffs in thirds over the piano line, and it had the character of a wild dance. Ms. Park's comments to the audience noted that Dvorak's extended Adagio was the center of the piece. The cello opening over marching chords from the piano was lovely, and the ensemble projected one questioning phrase after another. Ms. Park played with uniform chordal weighting, and the ending, a last unison string chord, was refined.

The finale was played well with majesty in the short themes and little instrumental "hiccups" abounding. A peaceful resignation came only at the end. This long trio seemed not long at all under the Boston's artistry.

Haydn's "Gypsy" Trio from 1795 was a shrewd program opener and received a lively reading. Ms. Park throughout the afternoon showed her discerning command of scales, using a detachť touch in the Haydn and Beethoven, and a more legato touch for Dvorak. Ms. Muresanu, though frequently needing more tonal bloom, often underplays the solo lines, preferring to meld well into the ensemble to an alluring effect. The whirling "Hungarian" Rondo was pungent and often thrusting, and brought a loud ovation from the 200 patrons in the hall.

The "Geister" (Ghost) Trio, Op. 70, No. 1, is one of Beethoven's most popular chamber works, and the Boston's focus here was on instrumental clarity. Following substantial string retuning, the players began the Allegro Vivace at a fast clip, with Ms. Culp's cello projecting a resonant and vocal line. The string unison playing again was impeccable. I found the conception in the famous Largo careful but a little dry, with exquisite violin work from Ms. Muresanu and operatic tremolos for both hands from Ms. Park. Beethoven's astounding creativity was everywhere present in the final Presto, and the ensemble was elegant and everywhere balanced.

In sum, the concert was a splendid mix of the trio repertoire, splendidly played.