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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

Lincoln Trio Nov. 7 at Spring Lake Village with Robert Hayden

LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT

by Terry McNeill
Wednesday, November 7, 2018

Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series.

Regularly presented by local impresario Robert Hayden, the Lincoln played an abbreviated program of four works, beginning with a short “Silver Dagger”, composed for them by Stacy Garrop. Pianist Marta Asnavoorian’s tapping the strings from above started the short, atmospheric work that featured Desíree Ruhstrat’s violin line sliding in and out of notes in the high register, and cellist David Cunliff playing an often drone-like underpinning and a slow dissonant folk tune wound around pedal point piano phrase. Curiously the work didn’t sound contemporary.

Fauré’s D Minor Trio, Op. 120, followed, and though not contemporary it was at the first notes of the allegro full of softly swirling echt harmonies and rhythms that one knew it was the product the French master. Fine ensemble playing was heard and the Lincoln built the many small climaxes deftly, with often modulations seamlessly unfolding. Beautiful playing followed in the andantino where Ms. Asnavoorian played the cantando espressivo theme with charming grace and didn’t cover her colleagues. The Lincoln captured the yearning sad character of the movement.

Ms. Ruhstrat and Mr. Cunliffe dug into their strings in the finale allegro in an approach that was never jocular, but close. Urgency and wonderfully lively rhythmic breaks characterized the performance, with much spontaneous excitement that developed in the five-minute movement. A convincing Fauré performance demands a refined sensibility and an urbane sound, and the Lincoln delivered it.

Joaquin Turina’s early F Major Trio has been a Lincoln specialty, played and recorded far less than the Op. 35 and Op. 76 Turina Trios. The four-movement piece at times has reference to the two Arensky and other Russian Trios, and the playing in the opening lento – allegro had strong thematic projection in the march-like themes, and pedal point in the piano part. Slow descending passages characterized the andante, a beguiling threnody. Ms. Aznavoorian’s octave playing was forceful, and the big climax had a Spanish sound. Unison string playing was very good, often in the higher registers, and the lively scherzo with pizzicato strings was surprisingly lightweight.

Muscular and loud playing was heard in the concluding andante grandiose, a fast and impulsive romp that had echoes of the music of Franck and Bizet. Fauré chamber compositions masterfully combine throttled excitement with elegance, and the Lincoln conveyed these characteristics perfectly. Applause was generous but not loud.

A short and intense work by Juan Antonio Cuellar, a Colombian composer associated with the University of Indiana, closed then program. It was a jerky piece, menacing, dissonant and replete with repetitive phrases. A samba rhythm rolled in and the Lincoln gave the interpretation instrumental power and excitement. The specter of Gustavo Dudamel’s athletic conducting and musical juice came to mind.

On the next day the Lincoln Trio played a slightly expanded version of this program in the Music at Oakmont Series in Berger Auditorium.