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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
CHAMBER REVIEW
Amaryllis Trio / Saturday, September 10, 2016
Lisa Doyle, violin; Wendy Reynolds, cello; Sonia Morse Tubridy, piano

Amaryllis Trio

BEETHOVEN AND LALO MUSIC FLOWER IN AMARYLLIS TRIO'S HOUSE CONCERT

by Terry McNeill
Saturday, September 10, 2016

When driving into Guerneville Sept. 9 for the Amaryllis Trio’s house concert, a massive backlog of cars presaged a jammed musical afternoon. But for the cognoscenti the Trio’s music upstaged the big jazz festival crowds, and rewarded the 25 assembled in Sonia’s Tubridy’s charming hillside home with music of Beethoven, Lalo, Mendelssohn and Haydn.

It was a benefit for the River Choir, directed for many years by Ms. Tubridy.

Dramatic highlights included the Beethoven G Major Trio, Op. 1, No 2, and the opening movement of Lalo’s C Minor Trio, Op. 7. Beethoven’s virtuosity was on display in this early piece that still has echoes of Haydn’s 30-plus trios, but the creative counterpoint individually stamps the work. Ms. Tubridy’s pianism seemed to envelope the string instruments, almost swelling on some notes, and was the voice leader.

The Largo Con Espressione and the Presto finale were well played, the first having a lovely slow dance duo from Ms. Tubridy and violinist Lisa Doyle, and the second full of repeated notes and short, snazzy phrases. The musicians were able to find a long thematic line in the busy movement, though some rhythmic instability was heard. Beethoven never seems to let go of one cadenza when another catches his fancy, and the Amaryllis caught and portrayed the excitement of the 1795 work.

The opening Allegro movement from Lalo’s early C Minor Trio (Op.7) featured cellist Wendy Reynolds’ suave introductory phrasing and a march theme in the piano part that frequently varied the tempo. Ms. Doyle’s tone was rich and was penetrating in the high register, and the movement’s powerful conclusion was preceded by the romantic ardor of the slow movement of Mendelssohn’s ever-popular D Minor Trio, Op. 49. Here a leisurely tempo was adopted with minimal ritards and the string instruments took away the big themes from the piano. Such glorious themes, and the Trio played them with gentle luftpausen and subsequent handoffs from piano to violin to finally cello.

Haydn’s E Minor Trio (Hob. XV 12) opened the program in an unfussy performance full of rhythmic contrasts. The piano part carried the themes with strong low register string playing and the Andante had a nod towards Mozart’s trios. In the concluding Rondo the Amaryllis shared a playful approach to joyous music, with Ms. Reynolds providing deft support and careful attention to a big descending passage for all three players near the end. The sonic mix was good, with here and there an underlined dissonance. Dissonance in Haydn?

Piazzolla’s short Verano Porteño from the celebrated “Four Seasons in Buenos Aires” (1965) concluded the concert to acclaim. As with most Piazzolla works the tango rhythms and inflections can be treacherous for multiple performers, but the Amaryllis met the challenges with aplomb.

Classical Sonoma reviews rarely mention a concert’s extra-music aspects, but at this West County event the gratis intermission food was special, led by apple crisps made the same morning from local fruit. A great combo with strong coffee.