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Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
CHAMBER REVIEW
Mastercard Performance Series / Sunday, January 29, 2017
Joseph Kalichstein, piano; Jaime Laredo, violin; Sharon Robinson, cello

Kalichstein-Laredo-Robinson Trio

ENSEMBLE PERFECTION IN KLR TRIO'S 40TH ANNIVERSARY CONCERT

by Terry McNeill
Sunday, January 29, 2017

Longevity has its place in classical music. Composers and especially conductors live a long time, and venerable piano trios can linger for years. One can recall the great Cortot-Thibaud-Casals staying on the international scene for decades, and more recently Stern-Istomin-Rose, Oistrakh-Oborin-Knushevitsky and the Beaux Arts.

A Weill Hall audience of 600 welcomed Jan. 29 the Kalichstein-Laredo-Robinson Trio on their 40th Anniversary tour, and they began quickly with Beethoven’s “Gassenhauer” Trio in B-Flat Major, Op. 11. Here the smooth ensemble and deft pacing that would be heard all evening were immediately telling. The heart of the 1797 work came with Ms. Robinson’s lovely cello introduction in the adagio of a simple, almost cutesy theme, that in Beethoven’s hands becomes complex and convincing. The changes of texture and tempos were dramatic, but always in proportion. The KLR interpretations have admirable balance and continuity.

In the concluding allegretto the pianist Mr. Kalichstein had the biggest part, and he shaped the phrases with changes of touch and attention to pedaling over bar lines. One can’t forget that Beethoven was a virtuoso pianist, and in these variations the composer took a theme bordering on the banal (as he did in the Diabelli and Op. 34 Prometheus Variations) and turned it into precious metal.

Certain iconic works, however old, don’t seem to lose their shock value, with two examples being Stravinsky’s “Rite of Spring” and Bartok’s Piano Sonata from 1926. Shostakovich’s Trio No. 2 (Op. 67), written in 1944, is one of these. Beginning with extended high register cello harmonics that come out of the ether, the subsequent entrance of the piano immediately confirmed Shostakovich as the author. All memories of the Beethoven were erased. The dissonant themes cried out painfully through violinist Jaime Laredo’s silvery though not overly powerful sound. Mr. Laredo’s skilled spiccato bow danced through the scherzo where the music recalled the Op. 57 Quintet written fours earlier.

Mr. Kalichstein’s majestic piano chords that opened the largo gave a feeling of inexorable sadness and gloom, intensified by rich cello vibrato and two repeated ending chords. The music, sarcastic and somber as it was, faded into a mist. Writing for the cello here presaged the 1959 Shostakovich Cello Concerto.

Thrusting and jabbing phrases characterized the playing of the finale with lots of intense bass chords in the piano. The return of the first-movement’s theme led to a potent march played forcefully by Mr. Laredo and Ms. Robinson, and finally an almost inaudible chord.

Following intermission Brahms’ early B Major Trio, Op. 8, was played. The critical entrance of the violin after the opening beguiling piano-cello statement was perfectly on pitch, and Mr. Laredo’s high register featured a sweet but never a thick sonority. He is a master at subtle small crescendos and diminuendos, many at low volume. The last of the many thematic statements grew to a sculpted and needed ritard just before the allegro con brio’s end.

Spicy piano flourishes and spiccato cello bowing highlighted the scherzo, and the lovely second theme was played in violin and cello unisons. Mr. Laredo’s string harmonic ended the movement. Mr. Kalichstein played elegant phrases in the adagio with echoes of the slow movements of the much later Brahms’ C Minor Piano Quartet, and did something rarely heard – he played solo chords selectively in the right hand a tiny bit ahead of the left-hand chords. It was a fetching effect.

Surging romanticism came to the fore in the finale, with the passion level up. At times Mr. Kalichstein’s sound covered that of his partners, not surprising in a composition of such ardor. He took the bottom octave B chord at the end with a loud swack.

In response to continued applause Mr. Laredo announced an encore, “Summertime” from Gershwin’s opera “Porgy and Bess,” arranged by the film and pop composer Andy Stein. The Trio’s performance was laced with still summer heat, lazy with cut notes and little string slides. The audience loved it.

Nicki Bell contributed to this review.