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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
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...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
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...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
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...
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.