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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 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...
Choral and Vocal
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...
Chamber
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...
Chamber
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
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
CHAMBER REVIEW
Oakmont Concert Series / Thursday, October 16, 2008
LINCOLN PIANO TRIO

LINCOLN TRIO DOES HONEST ABE PROUD

by Terry McNeill
Thursday, October 23, 2008

It’s a flood tide for piano trios in the North Bay. For years SSU’s Trio Navarro has given numerous wonderful concerts, and recently the Tilden Trio (San Rafael) and the fledgling Sequoia Trio (Santa Rosa) have entered the fray. October 16 found a travelling troupe, Chicago’s Lincoln Trio, proving again the viability of the classical combination of piano, violin and cello.

Before an Oakmont Concerts Series of 200, the Lincoln began with Mendelssohn, but not the most popular of trios, the D Minor. This afternoon started with the C Minor, Op. 66, and it was a felicitous selection. Pianist Marta Aznavoorian quickly seized the leading role, the opening Allegro Energetico fleetly unfolding with just a touch of shady menace. The excellent ensemble continued through an elegant Andante Espressivo, sad and plaintive, and with a fast interplay of voices in the energetic third-movement Scherzo. Violinist Desiree Ruhstrat’s lovely pianissimo led to a bantamweight ending, and the finale Allegro Appassionato was a concentrated romp. Cellist David Cunliffe, solving some pesky pitch problems, supported the long line of the last movement. with its captivating interior Bach chorale.

Concluding the first half was “Autumn” from Piazzola’s “Four Seasons of Buenos Aires.” The Argentinean master’s music isn’t usually associated with a piano trio, but here the tango-themes made good sense, led by the cello and slow arpeggios from the piano. The long slides in the violin were sparkling, and the short work ended with a
spicy, almost lascivious piano glissando. The audience loved it.

Two works comprised the second half, one novel and one as familiar as the warm fall day outside the hall. A hybrid work, Lawrence Dillons’ “The Better Angels of our Nature,” came from a commission that required the words of Lincoln to be woven into a musical texture. Here the narrator was Oakmont’s own Victor Spear, renowned chess historian and, with his wife Jane, an avid classical-music concertgoer. There were three long passages taken from the President’s letters or public statements, titled Integrity, Humor and Vision. Each came from the podium accompanied by the Trio’s musings, more background and pastoral than an equal partner with Dr. Spear’s stentorian locution. The background texture comprised slow rolled piano chords, high register string unisons and snippets of pizzicato and sforzando phrases. Lincoln’s word had dignity and heft, the music pretty forgettable but having in a long coda the last word.

Brahms wrote at least six popular trios, the Piano Trio No. 2 in C Major, Op. 87, coming from 1882. It’s never had the emotional impact for me as the earlier B Major Trio (Op. 8), but is a great work in the form, crammed with inspiration. In four movements, there are thematic relationships between the first and fourth and the architecture is sublime.

The Lincoln gave the work careful control of dynamics, often submerging the piano in the string sound. The episodic Andante Con Moto, the center of the work, opened with an absolute equanimity of unison strings, shimmering, and the sound finally melted into a tender but terminal void.

The animated finale was played with rich scales in all three instruments, Aznavoorian’s piano frequently anticipating the other’s entrances and pushing the tempo. It must be said that Ruhstrat has a refined violin sound, but the tone is not big or especially broad, something important for Brahms. Hers is not an “Oistrakh” sound, but in all ways secure and pliant, reflecting the discipline of her teacher, Aaron Rosand. Cunliff’s cello in this glorious Allegro giocoso supplied a firm bass, lacking perhaps only lush aggressiveness of the Tilden’s Peter Wyrick on the same stage two months ago. The racehorse ending brought the audience to its feet, but no encore was offered.

Artistically able to stand comparison with our resident and guest trios, the Lincoln is a fresh and professional addition to the chamber music scene, and one hopes they can return soon.