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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 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...
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...
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...
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...
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...
CHAMBER REVIEW
Music at Oakmont / Thursday, March 10, 2016
Lincoln Trio. Desiree Ruhstrat, violin; David Cunliffe, cello; Marta Aznavoorian, piano

Lincoln Trio

LINCOLN TRIO IN RARE WORKS AT OAKMONT CONCERT

by Terry McNeill
Thursday, March 10, 2016

Chicago’s Lincoln Trio returned for a fifth time to Oakmont’s Berger Auditorium Concert Series Mar. 10 with a challenging and uncommon program that began with Rebecca Clarke’s Trio from 1921.

Starting a concert with this formidable work seemed risky, not because of the Oakmont audience but simply for the demands of the music, often acerbic involving a central powerful and knotty idea in all three movements. The Lincoln jumped into the fray with an opening movement and captured the misterioso character and the somber opening movement ending. It’s scary in places and only sometimes sounds like Ravel. The Lincoln played the long lines in the Andante slowly with attention to the phrase endings, with violinist Desirée Ruhstrat’s elegantly stating the first subject with a single G note in the piano part.

In the finale string pizzicato and a hammered piano line led ultimately to excellent ensemble and even a quasi-happy ending.

Stretching the first half was a short transcription of the Irish Ballad “Danny Boy,” a popular and syrupy song from about1910. It was a charming addition to the program and chastely played.

Before intermission the Primavera Porteña movement of Piazzolla’s Four Seasons of Buenos Aires was played.
The Argentinian composer has enjoyed startling popularity in the past decade, and his tango-infused music appears often in chamber music events. Here the offbeat accents, repeated sforzando chords from pianist Marta Aznavoorian and the leaning into phrases seemed a little familiar. The constant tempos changes were deftly handled. The performance seemed to underscore Piazzolla’s swaggering music as initially fetching but finally not memorable.

Turina wrote four substantial piano trios, the two big ones played in recent years by the North Bay’s own Trio Navarro. In a surprise the Lincoln brought out a nearly unknown early trio by the Spanish master, in F and composed about 1905. In a way they own the work, and it was a performance replete with fire, drive and occasional lyricism. The Trio was able to blend a bit of Spanish flavor with something that might have been heard in a Parisian street hall concert prior to the 1914.

Long descending piano runs and charming thematic projections were heard in the first two movements, so different from the trios that just preceded the F Major, by Dvorak, Brahms, Rubinstein, Tchaikovsky and Smetana. Here and there are hints of the dance hall and the palm court. The Lincoln was light footed throughout, especially the surprising momentum in the exciting finale. Cellist David Cunliff played forcefully and supported with gusto the music’s momentum.

A standing ovation produced one encore, Juan Antonio Cucular’s In Conversations. Mr. Cunliff announced it as a wild and crazy piece, and it was that – rhythmically complex, Ginastera like, with spicatto bowing and piano glissandos. Not spooky, just frenzied, and the 175 in Berger loved it.