Chamber
FRISSON DELIVERS SHIVERS OF DELIGHT
by Abby Wasserman
Sunday, March 30, 2025
Chamber
THE PARKER CAPTURES DEMANDING ADES QUARTET AT RAC SEBASTOPOL CONCERT
by Peter Lert
Saturday, February 15, 2025
Chamber
SPLENDID ECHOES ACROSS THE BAY
by Abby Wasserman
Sunday, February 9, 2025
ETHEREAL DUO IN WEILL HALL RECITAL
by Pamela Hicks Gailey
Thursday, February 6, 2025
ESPANA SEGURO AT SO CO PHIL'S JACKSON THEATER CONCERT
by Terry McNeill
Sunday, February 2, 2025
Choral and Vocal
MASTERFUL SINGING CLASS IN SCHROEDER HALL
by Pamela Hicks Gailey
Sunday, February 2, 2025
Recital
MUSICAL POT POURRI AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Friday, January 31, 2025
CELLO AND CLARINET HIGHLIGHT TRIO NAVARRO'S CONCERT
by Ron Teplitz
Sunday, January 26, 2025
SONGS OF LOVE, IN A WARM TRIO
by Pamela Hicks Gailey
Sunday, January 26, 2025
Symphony
EARTHLY PLEASURES AT THE VALLEJO SYMPHONY
by Peter Lert
Sunday, January 19, 2025
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 Lee Trio |
LEE TRIO AT SPRING LAKE VILLAGE WITH A RARE ENCORE
by Terry McNeill
Wednesday, September 27, 2023
San Francisco-based Lee Trio has been frequent Sonoma County visitors at Music at Oakmont and at the Spring Lake Village Series, and Sept. 27 they returned to SLV for a concert of very early Beethoven and very late Brahms.
The E-Flat Major Trio, Op. 1, No. 1, was especially well played, only in places sounding Haydnesque in the opening Allegro that had lots of energy with pianist Melinda Lee Masur’s alternating ascending scales with staccato and some short legato phrases. Throughout the piano line was more or a leader than a dominator.
In the gay Scherzo violinist Lisa Lee and cellist Angela Lee played long sustained lines while Ms. Masur’s piano part featured Mozartian phrase ending trills. The leaping piano tenths in the concluding finale introduced two joyous themes and much good musical humor.
There was little surface humor in the Brahms C Minor Trio (Op. 101) that ended the printed program. It’s a dark, dense, late night work from 1886, and right off the Lee mounted a dramatic reading of powerful human emotions. The three-note figure at the outset was starkly played, and this potency continued through the work, apart from the Andante Grazioso’s tender string dialogue with the piano, perhaps with question and answer. Phrases.
The playing in the finale began like the opening Allegro, but became beguiling with the key change to major, and an affirmative statement of warmth in the masterful coda.
In a rare chamber music ensemble choice for the 125 in Montgomery Auditorium, an encore was offered: a trio transcription by cellist Angela Lee of Amy Beach’s lovely “Ah, Love, What a Day!” from the Op. 44 Browning Songs. It was captivatingly performed, laconic and at times intense.
Montgomery’s house piano has long sounded too bright and loud at the top end, exacerbated by the flat hard floor and bare walls. Weill Hall’s expert technician Will Reed prepared the instrument for this one-hour concert, the result being better register balances and richer tone colors.
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