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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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...
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, October 20, 2016
Trio Valtorna. Ida Kavafian, violin; David Jolley, horn; Gilles Vonsattel, piano

Violinist Ida Kavafian

TRIO VALTORNA'S JAUNTY EXPLORATIONS AT OAKMONT CONCERT

by Terry McNeill
Thursday, October 20, 2016

New York’s Trio Valtorna came to Music at Oakmont’s Berger Auditorium stage Oct. 20 with three disparate works, and in two of them instrumental sonic continuity was not a main goal.

But it was in the second half’s seminal piece, Brahms’ E-Flat Major Trio (Op. 40) for horn, violin and piano, that brought the audience of 150 and violinist Ida Kavafian, hornist David Jolley and pianist Gilles Yonsattel most happily together. The opening Andante was played with special emphasis on the varied return (three times) to the luscious main theme, and the intricate balancing of the five harmonic keys. It was never a strongly dramatic reading but more svelte and lyrical, even in the second climax. The lively Scherzo was fiery and reminded me of the fast sections of the composer’s C Minor Piano Quartet. Controlled velocity.

Brahms’ haunting Adagio was given a slow and moving interpretation, bass heavy at times, and Ms. Kavafian’s exposed accuracy of pitch was perfection. Mr. Jolley came to the fore in the Allegro finale with judicious quick note runs and subtle short crescendos and decrescendos. One the whole the performance favored ensemble and lyricism over sustained drama.

Ending the first half was a performance of Ravel’s G Major Violin Sonata, played by Ms. Kavafian from score with warm pianism from Mr. Vonsattel. But it’s not a “warm” piece, and the composition from 1927 has lots of stylistic contradictions. Here Ms. Kavafian was in no hurry to get anywhere and used in the opening Allegretto moderate vibrato and a chaste, sunny bottom sound. Mr. Vonsattel’s touch was everywhere adroit. The ending played off seconds with a long held note in the violin with the piano softly following. Beguiling and convincing.

The bluesy Moderato was played in a light march of broken rhythms with jaunty violin pizzicatos and various jazzy inflections and offbeat accents. It’s difficult to bring out the careless “swing” of Ravel’s polytonalities but both musicians seemed to have an intuitive connection with the jazz idiom.

Fine duo playing continued into the Perpetuum Mobile finale with Mr. Vonstattel playing powerfully sharp sound “jabs” and the exploration of a little music from the preceding movements. It was athletic playing at a quick pace that highlighted Ravel’s free rein of cascading ideas and juxtaposition of instrumental texture.

John Harbison’s 1985 Twilight Music for Horn, Violin and Piano opened the program following Mr. Jolley’s remarks regarding the piece, and an odd reference to Brahms’ ensemble with the same instruments. Ms. Kavafian’s violin line was often at the top of its register, and the piece abounds in frantic horn and piano phrases and fragmentary, insistent and jumpy rhythms. The playing was always capable but the lasting effect of the music on the Berger audience was in doubt, and the Harrison work past without much notice.

For me the most memorable part of “Twilight” was near the end when the Valtorna slowed the pace in a major key with unison violin and horn lines, creating a clean and mellow sound absent from most of the 18-minute composition.