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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 it’s 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 Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s 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 Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s 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 Rossini’s “William Tell” 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 Philharmonic’s 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
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.