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SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
CHAMBER REVIEW

The Sequoia Trio

AND SEQUOIA MAKES THREE

by Terry McNeill
Thursday, March 05, 2009

Having a third piano trio resident in the North Bay along with the Navarro and Tilden trios is a joyous prospect, as each will provide varied aural perspectives on the rich trio literature. The newest group, the Sequoia, played on March 5 in the cozy Great Room of Santa Rosa’s Spring Lake Village before 75 attentive listeners.

Joining pianist Florence Aquilina and violinist Gary McLaughlin, both SRJC faculty members, was Santa Rosa cellist Laura McClellan, whose sonorous instrument was in many ways the afternoon’s leading voice. The performance included trios by Beethoven and Foote, with Gliere’s Pieces for Violin and Cello, Op. 19, slipping inconspicuously in between.

Beethoven originally wrote his B-flat Trio, Op. 11, for clarinet with cello and piano, and here the violin took over the wind instrument part. The Sequoia began a little cautiously in developing the contrasting melodic fragments in the first movement, but settled in quickly, and the following Adagio was elegantly played. Aquilina led the way here with deft dynamic control, a lovely five-note descending figure ending the lyricism. The finale seemed a jolly romp, the string players trading allegretto themes from an opera aria unfamiliar to me.

Contrasting moods characterized the four short Gliere works, easily heard and I think easily forgotten. The first (Prelude) received a somber performance, and the third (Cradle Song) had the baby moving along at a substantial clip. The last time I heard the Cradle Song was when it was played by Heifetz and Piatigorsky in a long-ago Pasadena concert of my youth. It was as subtly played today as it was then.

Arthur Foote’s big Trio in B Flat, Op. 65, closed the concert. As with his C Major Piano Quintet, the second Trio is dramatic throughout and reflects the influence of Brahms, Wagner and Rubinstein. Born in 1853, Foote, with Chadwick, Paine and Beach, dominated the New England school of composition up to WW I. His style is declamatory and emphatically individual. The opening Allegro giocoso was well played but not an artistic whole. Unlike the more orchestral sound of Marin’s Tilden Trio, or the homogeneous voice from the seasoned Trio Navarro, the Sequoia’s sound has yet to convincingly blend. McLaughlin’s tone carries well but was thin, the vibrato for the most part narrow, and it never quite shared the richness and wide vibrato coming from the cello line.

The balance was better in the Tranquillo movement, beginning with a long and delicate piano-cello duo, finally being joined by the violin in upper registers. Brahms is the model here, the movement having the day’s best playing and most extended coloration. Aquilina led off the Finale with rapid up and down phrases, playing pointilistically before launching a theme reminiscent of parts of the first movement. Here the playing was ardent but frequently lacked the volume and breadth needed to make Foote’s music convincing.

This new trio of savvy local musicians portends terrific concerts in the future as they fine-tune their sound and continues to explore fresh repertoire.