Home  Reviews  Articles  Calendar  Presenters  Add Event     
Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.