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Chamber
SPARKLING WIND, STRING, HARP MUSIC AT DEVON HOUSE GARDEN CONCERT
by Abby Wasserman
Saturday, October 9, 2021
Take a mild autumn evening, a garden gazebo with patterned rugs and lit with soft bulbs, shake in a fine chamber ensemble, add a rising new moon, and you have a recipe for the musical delight that violist Elizabeth Prior presented Oct. 9 in her Devon House Garden Concert series. The Marin Terra Li
Recital
AUTHORITATIVE BEETHOVEN SONATA IN KLEIN'S OCCIDENTAL RECITAL
by Terry McNeill
Friday, October 8, 2021
People attending the first Redwood Arts Council Occidental concert in 20 months found a surprise – a luxurious new lobby attached to the Performing Arts Center. It was a welcome bonus to a recital given by pianist Andreas Klein where the music seemed almost as familiar as was the long shuttered hal
Symphony
MOVIE MUSIC ON THE WINDSOR GREEN IN SO CO PHIL SEASON OPENER
by Terry McNeill
Sunday, October 3, 2021
People approaching the Windsor Green bandstand Oct. 3 for the Sonoma County Philharmonic’s season opening concert had some cause for concern. After 18 months of silence would the all-volunteer orchestra have enough musicians for a big movie music program? After all, performers can move, retire, or
Symphony
SANTA ROSA SYMPHONY RETURNS IN TRIUMPH
by Steve Osborn
Sunday, October 3, 2021
It is often the case that a single piece or performer steals the show at a symphony concert, but at the Oct. 3 performance of the Santa Rosa Symphony, the show itself stole the show. The concert opened with a serene 1982 tone poem by Libby Larsen, followed by a masterful performance by soloist Julia
Symphony
TWO WIND SOLOISTS CHARM AT SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, September 26, 2021
The house of music has many rooms. That dusty adage was never truer than when Weill Hall Sept. 25 hosted a roaring New Orleans-style musical party, and less than a day later a mostly sedate Sonoma State University student orchestra performance. Before a crowd of 200 conductor Alexander Kahn led a
Other
CLEARY'S NEW ORLEANS BAND IGNITES PARTY FOR THE GREEN AT SSU
by Terry McNeill
Saturday, September 25, 2021
A dramatic and unique start to the new Green Music’s Center’ 2021-2022 season exploded in a “Party for the Green” Sept. 25, a New Orleans (NO) style commotion featuring Jon Cleary and his Absolute Monster Gentlemen band, inside and outside of Weill Hall. Beginning with a private gourmet dinner in t
GAULIST FLAVOR IN FINAL SF PIANO FESTIVAL CONCERT AT OLD FIRST
by Terry McNeill
Sunday, August 29, 2021
Final summer music festival programs are often a mix of what has come before, with the theme and even a featured composer taking a last stage appearance, with a dramatic wrap up composition. San Francisco’s International Piano Festival defied the norm August 29 with an eclectic French-flavored prog
SPARE DUO PRECEDES MYSTEROUS DUO AT DEN BOER RECITAL
by Terry McNeill
Friday, August 27, 2021
In a departure from usual summer festival fare Julia Den Boer played an August 27 virtual recital in the San Francisco Piano Festival’s 4.5 season with four works, all mostly quiet but all in separate ways insistently demanding of artist and listener. Throughout the 40 minutes there was nary a powe
HARMONIC COMPLEXITY IN PHILLIPS' ALL-GRIFFES RECITAL
by Terry McNeill
Friday, August 20, 2021
Charles Griffes’ piano music is similar to that of Busoni, Reger and even Poulenc, in that there is a sporadic flourish of interest with concerts and scholarly work, then a quick fade into another long period of obscurity. So, it was a delight to have an all-Griffes recital August 20 on the San F
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
CHAMBER REVIEW
Petaluma History Museum / Saturday, December 31, 2011
Elizabeth Walter and Members of the SF Symphony

Chu-Pai-Walter Trio Playing Dvorak Dec. 31 in Petaluma (Lauren Silagyi Photo)

CHU-PAI-WALTER TRIO RINGS IN 2012 AT PETALUMA HISTORICAL MUSEUM CONCERT

by Terry McNeill
Saturday, December 31, 2011

Musical detours can bring unexpected surprises, and on New Year’s Eve this writer’s drive to Petaluma’s Cinnabar Theater party stopped early for chamber music at the downtown Historical Museum. Sponsored by the Museum and the Sky Hill Cultural Alliance, the concert with gratis holiday refreshments featured two string players from San Francisco and local pianist Elizabeth Walter.

Handel’s Passacaglia, the last movement of the G Minor Harpsichord Suite (BWV 432) was played in John Halvorsen’s transcription by violinist Yun Chu and cellist Shu-Yi Pai. The acoustics favored Ms. Pai’s rich sound and she frequently covered Mr. Chu in the early variations, the latter’s unsteady with high register pitch problems. Things finally settled down as the compelling counterpoint unfolded, the pizzicato duo playing and deft phrasing impressive. The last variation was a frenzy of speed and notes and brought a loud ovation from the nearly full house.

Sky Hill Alliance Director Elizabeth Walter was the evening’s pianist, programming three Chopin works and Ginestera’s Op. 22 Sonata. Ms. Walter is a forceful artist with often a forced tone, the hall’s instrument assisting with absence of treble overtones. The F Minor Study from the Trois Nouvelles Etudes was played with the right-hand melody triplets carrying well over the accompaniment, and briskly, as was the following C Minor Nocturne from Op. 48. A powerfully dramatic work with imposing octaves, the Nocturne received a capable but less-than-polished performance but one that conveyed agitation. Cascades of sound also characterized Ms. Walter’s second Chopin Ballade in F, Op. 38. The alteration of folk-like charm and sonorous outbursts had the requisite drive from the artist’s strong fingers and she held the damper pedal, after the long fortissimo carnage, into the eight-measure coda. An innocent and effective closure.

Ending the first half was the Ginastera from 1952, an odd choice for a New Year’s Eve concert with social components. The Classical Sonoma critic’s rule book advises that the artist selects the works and the reviewer’s job is to report on the playing. The Sonata, played from score, was a brawny and loud component to the evening and one’s mind turned to a bevy of more cordial works to spotlight the musical season. That said, the playing was the best solo work of the evening, the memory stumbles in the Chopin vanishing. In the first two movements the swirl of repeated notes, often in a toccata style, were distinct and recall Ginastera’s earlier Danza del Gaucho Matrero from the Danzas Argentinas. Arpeggiated chords in the Adagio molto appassiona had a mystical character reminiscent of the famous six-note Scriabin Prometheus chord, and the pianist caught the languorous nature of the music. The precipitato finale was potent, the off-beat accents contributing to the momentum and climatic conclusion. Not exactly party music but clearly an assured reading by Miss Walter. On this evidence she is a Ginastera champion.

Dvorak’s popular Op. 90 Trio (Dumky) comprised the second half and had a great opening, Mr. Chu’s singing line leading the way and Ms. Pai’s cello again forceful. This six-movement work from 1890 is jammed with sharp contrasts, alterations of yearning melody and wild gaiety. There was a lovely threnody in the second movement’s piano-violin duo and lyrical, bucolic playing in the vivacious Andante. The rolled chords at the end were chaste Dvorak and mesmerizing in the Trio’s hands.

More movements unfolded, rhapsodic and Bohemian in the fourth and a fierce dance in the concluding Maestoso. Here Ms. Pai’s cello rumbled and Ms. Walter’s piano echoed the counterpoint and vitality.

Dvorak’s Trio is a unique work, far different from contemporary trios of Mendelssohn, Rubinstein, Brahms and Tchaikovsky, and the Chu-Pai-Walter ensemble gave an impassioned and lucid performance. No encore was offered.