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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

Manhattan Piano Trio Oct. 13 at Gualala Arts Concert (Judy McNeill photo)

POTENT MANHATTAN TRIO PERFORMANCES AT GUALALA ARTS CONCERT

by Terry McNeill
Sunday, October 13, 2019

Gualala Arts has been North Coast gem since 1980s, presenting a wide menu of musical programs in the charming small concert hall in the redwoods near the ocean in Gualala, and the Manhattan Piano Trio opened the new season Oct. 13. It was the fifth appearance in Gualala for this New York-based ensemble, with pianist founder pianist Milana Strezeva joined by Trio newcomers Solomiya Ivakhiv (violin) and cellist Sophie Shao.

Haydn’s G Major Trio (Hob. XV/25) opened the concert before an audience of 200 area residents, with Ms. Ivakhiv (standing throughout) leading an interpretation that was direct and often driven in the sprightly opening andante. The hall’s acoustics are almost without reverberation, but the sound is direct and “Papa” Haydn’s compositional charm was everywhere evident. Phrasing in the first two movements was conventional and favored a rich string sound, finishing with a long fermata in the songful adagio.

Things changed in the swirling finale, a rondo with many thematic repeats in a gypsy style (Hungarian? Balkan?) that featured Ms. Strezeva’s driving pianism that although forceful never covered her companion’s sound. It was integrated and balanced playing, jocular but everywhere convincing, and received loud applause.

Schumann’s Five Pieces in Folk Style, Op. 102, followed, spotlighting Ms. Shao’s rich cello virtuosity. Contrasts in the music were emphasized, with perhaps the highlight being the alternating lyrical and then somber effects in the Langsam that resembled a lullaby, with three vivid chords at the end, two of them in arpeggios. Fine instrumental balance continued through the third and fourth movements, the Nicht Schnell slightly strident with several key modulations, and the concluding Stark und Markiert in strict tempo and Ms. Shao’s lovely resonant playing and deft bow control. The hall’s piano is voiced warmly and Ms. Strezeva’s tone color in soft passages was splendid.

The afternoon’s surprise came with Galician composer Anatol Kos-Anatolsky’s Poeme for Violin and Piano, probably in its North Coast premiere. In remarks from the stage Ms. Ivakhiv mentioned that the piece was just recently discovered, though composed long before the composer’s death in 1983. Ms. Strezeva played the pungent introduction with muscular drama, leading into episodic sections that were colorfully tonal and full of high register violin writing and extended pianissimos between phrases.

In the cadenza the violinist favored much tempo fluctuation and potent sforzandos that evolved into a tumultuous folk dance at presto speed, the two instruments often many registers apart but with palpable excitement. The light humorous ending was a surprise.

After a long intermission with gratis refreshments Dvorák’s great Dumky Trio in E Minor, Op. 90, received a committed and convincing reading. The Manhattan seemed to revel in the quirky and complex six-movement piece, with virtuosity everywhere: strong thematic projection, pungent but sporadically dry tone from Ms. Ivakhiv, Ms. Shao’s drone cello line under raucous Czech dance rhythms and lovely unison playing from the two strings. Beginning with the mystery of the first 60 measures, amazing passionate and laconic contrasts unfold in this unique work from 1891, so different from contemporary composers (Brahms, Tchaikovsky, Rubinstein, St. Saëns, Reger, Arensky) that were writing in more established trio formats. The first three movements were played without pause.

Ensemble was solid throughout; even in places were the tempo sharply accelerated or when thematic fragments from each instrument could have blurred the music. They never did. In this work Dvorák can’t let go of expected section endings, and here the Manhattan brought innovative moods and excitement to each extended cadenza and each short violin and piano section, sometimes in tremolo and ostinato. The playing was instrumentally surefooted and artistically distinguished, and at 34 minutes it never seemed at all long.

This elegant and thrilling Dumky performance generated a standing ovation, but no encore was offered.







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