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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
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.