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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
Mastercard Performance Series / Saturday, January 16, 2016
Kahane-Swenson-Brey Trio. Jeffrey Kahane, piano; Joseph Swenson, violin; Carter Brey, cello

Kahane/Swenson/Brey Trio

SCINTILLATING SCHUBERT IN WEILL

by Terry McNeill
Saturday, January 16, 2016

Audience members in Weill Jan. 16 that expecting a balanced, albeit conservative chamber music evening received a slight surprise with a scintillating Schubert Trio that upstaged two otherwise splendid works.

Schubert a surprise? In the hands of violinist Joseph Swenson, cellist Carter Brey and ensemble leader Jeffrey Kahane the E-Flat Trio (Op. 100) in 39 minutes never seemed long, though all repeats were honored. Musicians refer to the composer’s “heavenly length” and this performance underscored the work’s inspired thematic development. In the first two movements there was a joyous spread of chords, the melodies and modulations unfolding naturally at a brisk tempo. Mr. Brey’s wide vibrato in the stately C Minor march theme opened the Andante, the inward agitation set against the rapid trills in the piano and Mr. Swenson’s deft bowing. The last reentry of the theme was lovely and disappeared almost mysteriously.

Elegant and jaunty dance-like music was well captured in the final two movements, the pianist impressive in the speed of repeated notes and a faint feeling of gypsy rhythms. Mr. Brey repeated with careful emphasis the Andante’s march, showcasing how the composer can so quickly turn from happy lyricism to somber propriety.

This striking and masterly reading generated a standing ovation from the audience of 500, but not the “anticipated” encore of a movement of Paul Schoenfeld’s Café Music.

Schumann’s first Trio and Mozart’s E Major Trio (K. 542) comprised the concert’s first half, with both receiving virtuoso performance. In the Mozart, as with the Schubert, the working out of primary and secondary themes and counterpoint was perfection, and the powerful role of the piano always at the fore. Nothing lags when Mr. Kahane is sailing along with Presto half-pedaled runs, but this music can handle such speed and the ensemble never faltered. The broad Cantilena of the Andante showcased luscious violin and cello interplay.

In the final Rondo a “concerto” approach was taken, broad and festive. Mr. Swenson’s thematic projection and intonation was impressive.

Schumann wrote his D Minor Trio, the first of three, in 1847, and has a feverish energy with a hint of menace and gloom. Mr. Brey had the initial leading role here with graceful abbreviated upward runs, but overall the movement, even with the tumult, seemed extended. However the vivacious Scherzo (“Lebhaft”) seemed short, even with numerous repeats of the main phrase reminiscent of constant repeats in the composer’s E Flat Quartet (Op. 44). Even the most exquisite theme can become banal with manifold repetitions.

In the concluding “Mit Feuer” movement Mr. Kahane’s boisterous pianist had several telling inner voices but handed voice leading to the violin and cello. The driving Accelerando near the end brought an exciting conclusion to what must be Schumann’s best trio, and the performers oddly appeared both exhausted and energetic when taking bows.

Nicki Bell contributed to this review