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Choral and Vocal
A SEASONAL MESSIAH WITH BALANCE AND HEFT
by Terry McNeill
Sunday, December 10, 2017
The mid-December concert season seems for jaded reviewers to invariably include a Messiah performance, and perhaps a Messiah in a long string of similar and mundane performances. This was decidedly not the case when San Francisco’s Philharmonia Baroque mounted Handel’s eminent three-part 1742 Orato...
Symphony
ANDREW GRAMS FINDS HIS GROOVE SR SYMPHONY IN RACHMANINOFF
by Steve Osborn
Sunday, December 03, 2017
Last Sunday’s Santa Rosa Symphony concert featured two elegant and refined guests: music director candidate Andrew Grams and pianist Stewart Goodyear. Both displayed dazzling technique and consummate artistry, but Goodyear was the more consistent of the two. Some of Grams’ inconsistency may have st...
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
CHAMBER REVIEW
Amaryllis Trio / Friday, June 27, 2014
Amaryllis Trio: Lisa Doyle, violin; Wendy Reynolds, cello; Sonia Morse Tubridy, piano.

Amaryllis Trio in Sebastopol June 27

SUMMER SCHUBERT SUNSHINE

by Terry McNeill
Friday, June 27, 2014

Though not as well known as the formidable Trio Navarro, the Amaryllis Trio has had an increasing chamber music presence since 2012 with manifold Sonoma and Marin County concerts. Sebastopol’s St. Stephen's Church and the Numina Center for the Arts hosted them June 27 in a sparkling concert of four composers' compositions.

Piazzolla’s popular "Four Seasons of Buenos Aires" began and ended the evening, beginning with the spring and summer movements and ending with fall and winter. This languid and at turns sprightly music was effectively played, and the syncopated rhythms were underscored throughout. The opening Allegro from Mozart’s G Major Trio (K. 564) followed in a performance that was deft but marred by muddy instrumental textures and intonation.

Beethoven early C Minor Trio (Op. 1, No. 3) closed the first half. The Amaryllis caught the drama of the opening bars and the quick change to the light-hearted second theme. Violinist Lisa Doyle and cellist Wendy Reynolds played several fetching duos that echoed hints of Haydn’s music, and the theme and five variations were performed with a plaintive character. The finale (prestissimo) had the required drama. The many modulations and deceptive cadences gave the work several surprises. It was playing of taste and spice, the rhythmic foundation and voice leading provided by pianist Sonia Morse Tubridy.

Two movements from Schubert’s grand first trio in B-Flat Major, Op. 99, concluded the classical segment of the program. The selected sections included the spiritual Andante. Completed in 1828 in the last year of the composer’s life, the piece was taken with judicious tempos that allowed the sunshine of the Viennese master’s art to have prominence. Here Ms. Doyle’s shimmering high notes were telling, and there were hints of the themes in the well-known “Trout” Quintet. The Andante is all song, the piano part almost unimportant against the glorious lyricism occurring in the cello and violin lines. Such music leaves the mind with difficulty.

The Amaryllis’s balanced program was a happy early summer treat to an audience that was appreciative for both the performance and the eclectic repertoire.