Home  Reviews  Articles  Calendar  Presenters  Add Event     
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
Music at Oakmont / Thursday, March 10, 2016
Lincoln Trio. Desiree Ruhstrat, violin; David Cunliffe, cello; Marta Aznavoorian, piano

Lincoln Trio

LINCOLN TRIO IN RARE WORKS AT OAKMONT CONCERT

by Terry McNeill
Thursday, March 10, 2016

Chicago’s Lincoln Trio returned for a fifth time to Oakmont’s Berger Auditorium Concert Series Mar. 10 with a challenging and uncommon program that began with Rebecca Clarke’s Trio from 1921.

Starting a concert with this formidable work seemed risky, not because of the Oakmont audience but simply for the demands of the music, often acerbic involving a central powerful and knotty idea in all three movements. The Lincoln jumped into the fray with an opening movement and captured the misterioso character and the somber opening movement ending. It’s scary in places and only sometimes sounds like Ravel. The Lincoln played the long lines in the Andante slowly with attention to the phrase endings, with violinist Desirée Ruhstrat’s elegantly stating the first subject with a single G note in the piano part.

In the finale string pizzicato and a hammered piano line led ultimately to excellent ensemble and even a quasi-happy ending.

Stretching the first half was a short transcription of the Irish Ballad “Danny Boy,” a popular and syrupy song from about1910. It was a charming addition to the program and chastely played.

Before intermission the Primavera Porteña movement of Piazzolla’s Four Seasons of Buenos Aires was played.
The Argentinian composer has enjoyed startling popularity in the past decade, and his tango-infused music appears often in chamber music events. Here the offbeat accents, repeated sforzando chords from pianist Marta Aznavoorian and the leaning into phrases seemed a little familiar. The constant tempos changes were deftly handled. The performance seemed to underscore Piazzolla’s swaggering music as initially fetching but finally not memorable.

Turina wrote four substantial piano trios, the two big ones played in recent years by the North Bay’s own Trio Navarro. In a surprise the Lincoln brought out a nearly unknown early trio by the Spanish master, in F and composed about 1905. In a way they own the work, and it was a performance replete with fire, drive and occasional lyricism. The Trio was able to blend a bit of Spanish flavor with something that might have been heard in a Parisian street hall concert prior to the 1914.

Long descending piano runs and charming thematic projections were heard in the first two movements, so different from the trios that just preceded the F Major, by Dvorak, Brahms, Rubinstein, Tchaikovsky and Smetana. Here and there are hints of the dance hall and the palm court. The Lincoln was light footed throughout, especially the surprising momentum in the exciting finale. Cellist David Cunliff played forcefully and supported with gusto the music’s momentum.

A standing ovation produced one encore, Juan Antonio Cucular’s In Conversations. Mr. Cunliff announced it as a wild and crazy piece, and it was that – rhythmically complex, Ginastera like, with spicatto bowing and piano glissandos. Not spooky, just frenzied, and the 175 in Berger loved it.