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Chamber
THE LINCOLN RETURNS WITH CLARKE'S PUNGENT TRIO
by Terry McNeill
Thursday, November 18, 2021
There were many familiar faces Nov. 18 during Music at Oakmont’s initial concert of the season, but perhaps the most necessary were the three musicians of the Lincoln Piano Trio, the Chicago-based group that has performed often in Oakmont since 2006. A smaller than unusual audience in Berger Audito
Symphony
NOSTALGIC BARBER KNOXVILLE AT SO CO PHIL JACKSON THEATER CONCERT
by Terry McNeill
Sunday, November 14, 2021
In their first Jackson Theater appearance of the new season the Sonoma County Philharmonic presented Nov. 14 a program devoid of novelty, but showcasing the “People’s Orchestra” in splendid performance condition after a long COVID-related layoff. Conductor Norman Gamboa drew a committed and boister
Chamber
THRILLING PIANO QUINTETS IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 14, 2021
The Mill Valley Chamber Music Society sprang back to life on November 14 when a stellar ensemble from the Manhattan Chamber Players, a New York-based collective, arrived to perform two piano quintets: Vaughn-Williams’ in C Minor (1903), little known and rarely performed; and Schubert’s in A Major D.
Chamber
MUSCULAR BRAHMS FROM IVES COLLECTIVE IN GLASER
by Terry McNeill
Sunday, November 14, 2021
Leaving SRJC’s Newman Auditorium for the first time in decades, the College’s Chamber Concert Series presented a season-opening concert Nov. 14 in Santa Rosa’s Glaser Center with the four-musician Bay-Area based Ives Collective. The season, the first given since 2020, is dedicated to Series Founder
Symphony
MONUMENTAL BRAHMS SYMPHONY HIGHLIGHTS MARIN SYMPHONY RETURN
by Terry McNeill
Sunday, November 7, 2021
In the waning COVID pandemic the Marin Symphony is one of the last Bay Area orchestras to return to the stage, and they did with considerable fanfare Nov. 7 before 1,200 in Civic Center Auditorium, with resident conductor Alasdair Neale leading a demanding concert of Brahms, Schumann and New York-ba
Symphony
APOLLO'S FIRE LIGHTS UP VIVALDI'S FOUR SEASONS IN WEILL
by Terry McNeill
Saturday, October 30, 2021
Long ago the Canadian violin virtuoso Gil Shaham played a program in Weill Hall of solo Bach, with a visual backdrop of slowly developing visuals, such as a pokey flower opening over four minutes. The Bach was sensational, and some in the audience liked the photos but many found them disconcerting,
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
CHAMBER REVIEW

Gould Trio with Clarinetist Robert Plane Jan. 26 (A. Wasserman Photo)

CHALLENGING WORKS IN GOULD TRIO'S MILL VALLEY CHAMBER CONCERT

by Abby Wasserman
Sunday, January 26, 2020

The Gould Piano Trio, founded 28 years ago by violinist Lucy Gould, has been one of the UK’s most prestigious ensembles. Its January 26 performance in Mill Valley Chamber Music Society’s series demonstrated how richly they deserve that reputation. The concert, held at the Mt. Tamalpais Methodist Church, featured three demanding works, all of which were stunningly performed.

Members of the Trio: Lucy Gould, violin; Benjamin Frith, piano; and cellist Richard Lester, with clarinetist Robert Plane, first spoke from the stage about the challenges inherent in planning a program, quoting Fritz Kreisler’s advice: “First you play what you want the audience to hear, then you play what the audience wants to hear,” then played the rarely-heard Trio for Clarinet, Cello and Piano in A Minor, Op. 40, by Carl Frühling (1868-1937). Recently rediscovered after lying unplayed for many decades, this lovely work was given a moving reading by Messrs. Plane, Lester, and Frith.

Frühling’s personal story illustrates how political and social upheaval can abort a brilliant career. Although few details are known, Frühling, a Jew from Lemberg, Galicia (now Lvov, Ukraine), lived most of his life in Vienna and was sucked under during that city’s virulent anti-Semitic wave. He survived only to die in obscurity and poverty a year before the deportations began in earnest. His music went underground but this Trio survived, as well as a companion version he wrote for violin, cello and piano and a handful of other works, now attracting attention from musicians.

The Clarinet Trio is suffused with warmth and charm, and was enthusiastically welcomed by the Mill Valley audience. Its initial movement, Mässig schnell (Allegro moderato), began with a lovely clarinet and piano duo that ascended and descended in curlicues of sound. It carried an undercurrent of sadness, yet when all three instruments were playing, was inexpressibly lush. The second movement, Anmütig bewegt (Grazioso), incorporated two dances in three-quarter time, the elegant Viennese waltz and exuberant Ländler country dance. The Gould’s sensitive playing in the Andante third movement evoked a mourning procession, with musical mourners sharing reminiscences, three together, then two; finally, the clarinet poignantly alone. The fourth movement, Allegro Vivace, thrilled with shifting tempos, complex rhythms and a vigorous conclusion. Instrumental balances created clarity for each instrument even in complicated ensemble. This clarinet trio has substantial worth.

Ms. Gould joined her colleagues to perform “Four Fables” by Welsh composer Huw Watkins, a co-commissioned work for violin, cello, piano and clarinet. By way of verbal introduction, Mr. Lester joked that commissioning a work doesn’t necessarily mean it will be enjoyable to play, but this one, he nodded, is. They have performed it a dozen times since it was completed in 2018. The four movements are not based on any known fables or fairy tales (the difference between a fairy tale and fable is slight: fables contain a moral lesson). Rather, the composer has said his inspiration came from Robert Schumann’s Märchenerzählungen (fairy tale narrations), which also refer to no text. The musicians and listeners, therefore, can summon their own stories.

The four parts, played in sequence with pause between, are sonically related to one another. They are mysterious, full of imagination and brightly colored. Their connection to one another is enhanced by similar tempo and pace, and three are marked Lento.

In each, Mr. Frith played with much damper pedal so that each line shimmered into the next, creating an atmosphere of ambiguity and mystery. Ms. Gould’s violin in its purity and delicacy rivaled bird song, and Mr. Frith’s cello lines were dark and burnished. Throughout, Mr. Plane’s clarinet line sang eloquently, and the piece’s harmonic structure was often unusual and always beautiful. Each movement evoked further advancement into a mysterious territory. Low pizzicatos underpinned sparkling jumps in the clarinet and piano parts. In the Allegro second movement there was an instrumental chase that was almost palpable, then a musical slowing, with a dawning realization that one might be lost in deep woods. In movement three the clarinet line mounted thrilling arpeggios over sustained cello lines, and somehow this suggested (getting into the spirit) that the hero of this amorphous tale was being tested for bravery. A repetitive flutter from the piano line could have been a quickened pulse or the flight of a butterfly. Deep in the spell of the fourth movement the piece ended abruptly, without a resolution, as though suggesting that the journey is never over.

After a short intermission the musicians returned to play Dvořák’s Piano Trio No. 3 in F-minor, Op. 65. Dvořák usually worked quickly, but he took his time writing these four movements, and they are complicated, with quick changes in pace and dynamics. Only the third movement has a single tempo indication, (Poco adagio), while the others are rife with rapid changes in pace. Such quick phrases and tempos challenge an ensemble, but the Gould players handled them with élan, although occasionally the cello’s sound was covered by the piano. The entire work is a wealth of mercury-swift alterations of rhythms, moods and feelings, with mournful singing of the cello part in the third movement and the glorious melodies from Ms. Gould’s violin all wonderfully matched by Mr. Frith’s glimmering pianistic touch. Each musician played with intense focus and virtuoso technique to create a magical sonic experience.

It was a rousing performance, nuanced and also bold. As the final notes faded, the audience stood to applaud with loud appreciation.