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SIX GUITARISTS IN UNIQUE NAPA RECITAL
by Gary Digman
Sunday, July 25, 2021
The first Napa Valley Guitar Festival was held at Napa’s First Presbyterian Church July 25, and featured performances from six classical guitarists. The Church is an iconic structure in downtown Napa, its huge white presence dominating the scene, and the white theme continues inside punctuated by be
Chamber
CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
Chamber
EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
CHAMBER REVIEW

Boston Trio at Oakmont March 13

GHOSTS AND GYPSIES USHER IN THE SPRING

by Terry McNeill
Thursday, March 13, 2014

As a harbinger of spring, the Boston Trio brought sprightly piano trios of Haydn and Beethoven to their Music at Oakmont concert March 13 in Berger Auditorium. Happily the long and weighty Dvorak F Minor Trio, Op. 65, didn't manage to dampen the warm afternoon's ambiance.

The Dvorak performance was the most memorable, with a perfect unison in the somber opening phrase from violinist Irina Muresanu and cellist Jennifer Culp, leading quickly to surging themes set out by pianist Heng-Jin Park. This is an episodic movement, at times sounding like Brahms, and it was played with considerable power and insight. Ms. Muresanu's tone is not big, but her intonation is accurate, contrasting well with Ms. Culp's rich lower register and frequent portamento.

The following Allegretto was played in a bouncy fashion, the violin and cello alternating brief riffs in thirds over the piano line, and it had the character of a wild dance. Ms. Park's comments to the audience noted that Dvorak's extended Adagio was the center of the piece. The cello opening over marching chords from the piano was lovely, and the ensemble projected one questioning phrase after another. Ms. Park played with uniform chordal weighting, and the ending, a last unison string chord, was refined.

The finale was played well with majesty in the short themes and little instrumental "hiccups" abounding. A peaceful resignation came only at the end. This long trio seemed not long at all under the Boston's artistry.

Haydn's "Gypsy" Trio from 1795 was a shrewd program opener and received a lively reading. Ms. Park throughout the afternoon showed her discerning command of scales, using a detaché touch in the Haydn and Beethoven, and a more legato touch for Dvorak. Ms. Muresanu, though frequently needing more tonal bloom, often underplays the solo lines, preferring to meld well into the ensemble to an alluring effect. The whirling "Hungarian" Rondo was pungent and often thrusting, and brought a loud ovation from the 200 patrons in the hall.

The "Geister" (Ghost) Trio, Op. 70, No. 1, is one of Beethoven's most popular chamber works, and the Boston's focus here was on instrumental clarity. Following substantial string retuning, the players began the Allegro Vivace at a fast clip, with Ms. Culp's cello projecting a resonant and vocal line. The string unison playing again was impeccable. I found the conception in the famous Largo careful but a little dry, with exquisite violin work from Ms. Muresanu and operatic tremolos for both hands from Ms. Park. Beethoven's astounding creativity was everywhere present in the final Presto, and the ensemble was elegant and everywhere balanced.

In sum, the concert was a splendid mix of the trio repertoire, splendidly played.