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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...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
CHAMBER REVIEW
Green Music Center / Sunday, November 15, 2015
Lincoln Trio. Desirée Rushstrat, violin; David Cunliffe, cello; Marta Aznavoorian, piano

Lincoln Trio

LUMINOUS CLARKE AND BRAHMS FROM THE LINCOLN IN SCHROEDER

by Sonia Morse Tubridy
Sunday, November 15, 2015

Reveling in bold gestures and fine detail, the Chicago based Lincoln Trio performed Nov. 15 in Schroeder Hall, and gave a beautiful and masterful concert of works by Beethoven, Clarke and Brahms. Violinist Desirée Ruhstrat on violin, cellist David Cunliffe and Marta Aznavoorian (piano) have played together since 2003, and they are an elegant ensemble and not three fine soloists assembled for a while. They mix programs of well-known works with new compositions of contemporary repertoire Among their CDs is a program called Notable Women and another featuring trios by Turina.

The acoustics of the handsome and comfortable Schroeder Hall allowed the Lincoln to communicate the music with clarity and excellent balance between strings and piano. The lovely magenta and cobalt blue gowns worn by the women were elegant and visually complemented the playing.

Beethoven's Opus 11 Trio from 1798 was originally intended for clarinet, cello and piano, but to have it more widely played the composer arranged the clarinet part for violin. Ms. Ruhstrat gave us a performance that was convincing and the color of a clarinet was not lacking. The first movement opened with authority and took us through the excitement of mood and key changes, playful sometimes, emphatic at others, and then gentle dolce themes juxtaposed with wild passages. The adagio second movement features a transcendently lovely cello solo in the tenor clef which is passed around to the others and is one of those Beethoven movements that can move and delight effortlessly. The playing was subtle, every phrase intelligently shaped, and the instruments sang to us. The last movement is in fact based on a song, a popular aria well known at that time: "Before I play I must have something to eat!,” from Weigl's comic opera “Love at Sea.” Here, in an an inventive set of variations, vulgar meets sublime; a witty syncopated coda finishes the work.

Rebecca Clarke's 1921 Trio, not often performed, is a work of great passion and daring, as are her works that focus primarily on small ensembles and songs. The first movement, (moderato ma appassionato) introduced the audience to the composer’s unique sound, influenced by French Impressionism and English folk songs but always in her own distinctive and powerful compositional voice. She was looking back to the extreme romantic gestures of the 19th century and forward into harmonies and rhythmical experimentation of the 20th century. The music is tempestuous and goes from wild dissonant outbursts to serene lovely melodic moments.

The second movement (andante molto semplice) started with single piano notes above which the violin wove a lament. The harmonies were frequently modal and a simple rising whole tone motive evoked dream states and vast emotional spaces. Here the violin often achieved the rich low sound of a viola. The blending of string colors and piano was exquisite. The allegro vigoroso third movement completed this trio with much virtuosic piano writing. There was wild staccato humor, pale watery colors that alternated with bold sound shapes and lovely melodies with echoes of the first movement. There was ferocious dancing sonority dying down to sadness, and then a gust of stormy wind whipping our spirits onward to the end.

After the intermission, the attentive and clearly knowledgeable audience was treated the a beautiful short piece by contemporary American composer Stacey Garrop. “Silver Dagger” is based on the ballad made famous by Joan Baez, and made use of interesting and unusual sound effects from each instrument to make an intriguing and lovely setting.

The final trio was the Brahms Op. 87 in C Major. Brahms wrote this at a relatively happy time in his life and the Lincoln played this beloved work with respect for nuances in dynamics and phrasing and avoidance of bombastic overstatement. The opening, often played with exaggerated force, was rich sounding but also gentle. In loud sections the phrasing was shaped to free the themes from the meter while maintaining their melodic integrity. This performance was powerful and not frantic. The instruments were clear with a rich vibrant sound to enchant us and all musical details were audible. The Andante con moto is a theme (actually two themes) and variations movement with a Hungarian flavor. These variations were played with much articulation and sensitive piano interweaving with the strings. The scherzo is like Mendelssohn in a dark c minor mood with a soaring expansive trio section. This was played at an extremely fast tempo and pianissimo quiet passages, making the performance otherworldly at times. The last movement, Finale, allegro giocoso, has something for everybody. It is full of good boisterous fun and dances. The rondo theme comes back with variations and surprises. Brahms is like a magician conjuring up tricks and joyful magic. The Lincoln played with energy and an always beautiful expressive tone. This is music they have lived with and have explored as an ensemble, a treat for all of us in the audience.

After prolonged and enthusiastic applause, the encore was Piazzolla's tango Autumn in the Port (Buenos Aires), played with great abandon and full of the musicians' personal forays into improvisation on the written score.