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Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovich’s name on an orchestra program, but that’s exactly what pianist Alexander Toradze delivered--twice--at Sunday’s Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozart’s enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphony’s final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint Saëns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestra’s new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasser’s Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
Symphony
AUTUMNAL SIBELIUS 7TH HIGHLIGHTS VSO'S SEASON CLOSING CONCERT
by Terry McNeill
Sunday, March 31, 2019
Closing their 87th Season March 30 and 31 the Vallejo Symphony has moved from a single weekend concert to a set of two, and the late March response was two full houses in the charming downtown Vallejo Empress Theater. Conductor Marc Taddei opened the Sunday program with a rousing performance of B...
Recital
SHARED INSTRUMENTAL BEAUTY IN VIEAUX-MEYERS WEILL HALL CONCERT
by Abby Wasserman
Saturday, March 30, 2019
Exciting timbral sound and intricate counterpoint, made possible when two artists with complementary instruments play together, were richly explored by violinist Anne Akiko Meyers and guitarist Jason Vieaux March 30 in Weill Hall. Whether in close harmony, or unison, or weaving separate melodies to...
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.