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Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
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.