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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
CHAMBER REVIEW
Dominican University of California Guest Concert Series / Sunday, March 03, 2019
Tilden Trio. Sarn Oliver, violin; Peter Wyrick, cello; June Choi Oh, piano

Tilden Trio

TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT

by Terry McNeill
Sunday, March 03, 2019

Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall.

Clearly each hall’s acoustics, stage pianos and group temperament contributed to subtle but discernable stylistic differences, with the Navarro perhaps more elegant and the Tilden more gregarious. Such differences in chamber music are always welcome.

Dvorak’s eminent E Minor “Dumky” Trio, Op. 90, was the afternoon’s highlight and drew an athletic reading that was alternatively fiery and gay, and then melancholic and sad. Each of the six movements was played with thematically contrasting motives, some rustic and toccata like, and the restless music from 1891 was never quiet for long. Violinist Sarn Oliver deftly changed his sound in fast passages from the opening lento maestoso – allegro to restless high register playing with eerie falling fifths and a “far away” unison string duo with cellist Peter Wyrick’s dark-hued sound. Strange modulations characterize one instrument’s following another with the Tilden’s performance full of folk-music charm laced with mastery of the work’s complex structure and lack of cyclic sonata form.

It was a propulsive reading with the dance aspects emphasized, all the more stark with many melancholic and rhythmic parts and ostinato playing in the andante moderato from pianist June Choi Oh. The counterpoint was everywhere clear and the Tilden’s conception of Dvorak’s greatest chamber work was extravagant and vital.

Mr. Oliver and Ms. Choi Oh opened the concert with Brahms’ great G Major Sonata, Op. 78. Judicious tempos were the rule of the performance and the violinist’s tonal projection was not large, but certainly big enough when the soaring melodic line demanded it. As in the Dvorak, Ms. Choi Oh was not a reticent pianist and in the desirable bass heavy lines toward the glorious ending of the vivace ma non troppo the playing has to reach majestic heights, and the duo captured them. There is a C-Sharp octave in the piano’s deep bass six bars before the end that for a moment covered the violin line, perhaps needed in a performance that nailed Brahms’ muscular genius, and here it was all of a piece.

Pianissimo and double stop playing in the laconic adagio was lovely, leading to a richly hued fermata at the end, and a seamless transition to the finale (allegro molto) where Mr. Oliver’s pliant phrasing and warm tonal color led inexorably to a quietly radiant finish. The duo was able to deftly connect the thematic relationships of the first and last movements in an interpretation ultimately more poetic than burley. It was a stylish and convincing reading.

Ending the first half was Suk’s early C Minor Trio, Op. 2, in a performance than could have been a North Bay premiere. There are echoes of Dvorak and Dohnanyi in the music but not a whiff of contemporary German or Russian composers. Ms. Choi Oh spoke from the stage about Suk and the influence of Dvorak and Brahms. The playing of the opening vivace ma non troppo had a healthy Bohemian glow with potent chords from the piano and the theme in the strings.

It was followed by the most “Dvorakian” adagio, the first charming theme played by the cello, and in subtle crescendo and decrescendo and enchanting unison playing from Mr. Wyrick and Mr. Oliver. At places it sounded lightly rhapsodic. A brisk tempo and syncopated rhythms were heard in the finale, with Ms. Choi Oh’s energetic playing carrying the agitated music to sparkling conclusion.

Applause from the 100 attendees was ample.