Home  Reviews  Articles  Calendar  Presenters  Add Event     
Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
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.