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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
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Recital
MUSICAL POT POURRI AT SPRING LAKE VILLAGE RECITAL
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Friday, January 31, 2025
CELLO AND CLARINET HIGHLIGHT TRIO NAVARRO'S CONCERT
by Ron Teplitz
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SONGS OF LOVE, IN A WARM TRIO
by Pamela Hicks Gailey
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Symphony
EARTHLY PLEASURES AT THE VALLEJO SYMPHONY
by Peter Lert
Sunday, January 19, 2025
CHAMBER REVIEW

Boreal Trio

BOREAL AURORA RISES OVER OAKMONT

by Terry McNeill
Thursday, January 9, 2014

Opening the new year Jan. 9 at Music at Oakmont the Boreal Trio played a program of two diverse and distinct parts, the emphasis on charm rather than drama.

The bucolic first half had lyrical and low-volume works by Schumann and Mozart, the latter's "Kegelstatt" Trio in E-Flat Major (K. 498) setting a tranquil tone. This trio doesn't have a menacing note throughout, but in past performances I have heard the piano and clarinet lines covering the viola. Here Juan-Miguel Hernandez' viola line was always audible, often in fetching duos with clarinetist Uriel Vanchestein. Occasionally Mr. Vanchestein sounded a bit reserved, but in many ways that approach served the serene music well.

The quiet ambiance continued in Schumann's Op. 132 "Fairy Tales," the four short sections brimming with romantic yearning. Pianist Wonny Song played the day's first real forte in the dramatic Lebhaft und sehr markiert movement, the most Brahms-like part of the 1853 composition. The Boreal's playing reached a peak in the sweet third section, a love song with unison instrumental lines and a sublime and tender ending.

Ensemble playing in the concluding Lebhaft, sehr markiert was excellent, tying together a rarely-played work of elegance and nostalgia.

Five of Bruch's eight Op. 83 Pieces were played after intermission and the rich Romanticism again recalled Brahms' autumnal works and harmonic language. The orchestral and relentless Allegro Agitato opened the set with flair, moving to a Nachtgesang (night song) where nearing the end the viola handed off the melodic line to the clarinet, with Mr. Vanchestein playing a deft descending and ascending chromatic scale in perfect legato. These were more substantial pieces than those of the first half, clearly so in the adventuresome harmonies of the Moderato that looked back to both Brahms and Schumann, and the bouncy and effervescent Allegro Vivace finale. Mr. Song was had a greater role here, sewing together the string and wind lines with bouncy rhythms.

Though the Bruch was for me the day's highlight, Alfred Uhl's neoclassical Trio "Kleines Konzert" from 1938 came close. It was a bit of a cold shower after the previous works with a bigger piano part, many off-beat accents and a snazzy viola and clarinet duet in the spooky Allegro con Brio's cadenza. It was café music played with grace. A slow march morphed into a lament, with Mr. Song sounding chimes with his left hand and Mr. Hernandez playing uniquely with the tip of his bow on the viola's C and G strings. In the concluding Vivo, the Boreal took a fast tempo and played the virtuosic and showy movement with aplomb. A sudden forte chord closed an exciting performance.

The encore, Mr. Vanchestein's "Moment Musical," was announced as a study in the style of Rachmaninoff and Scriabin, but I could find neither Russian composer's music in the short romantic study of swirling clarinet phrases. It was a bon-bon to a light and pleasurably non-traditional musical meal.