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Symphony
REFRESHMENT FOR OUR SPIRITS
by Sonia Tubridy
Friday, May 08, 2015
On Friday, May 8, Jeffrey Kahane delivered a tour-de-force piano recital at Weill Hall. The program consisted two great sets of variations for piano, Bach's brilliant Goldberg Variations and Beethoven's Opus 109 Sonata, whose third movement offers transcendent variations on a simple theme. Kahane o...
Symphony
SANTA ROSA SYMPHONY MASTERS MAHLER'S THIRD
by Steve Osborn
Sunday, May 03, 2015
Among Romantic symphonists, Mahler is the king of climaxes; he surges from one to the next orgiastically. His third symphony is a perfect example: It begins strong, fades to quietude, resurges to maximum amplitude, and repeats the process. For listeners willing to ride these waves, the experience ca...
Choral and Vocal
ABS CLOSES 26TH SEASON WITH POTENT BACH AND VIVALDI WORKS
by Terry McNeill
Friday, May 01, 2015
In a May 1 program that balanced vocal and instrumental virtuosity the American Bach Soloists closed their 26th season in grand style in Belvedere’s austere St. Stephen’s Church. Led by the indomitable conductor Jeffrey Thomas the first half of the program featured a rarely heard cello concerto, a ...
Symphony
MOUNT TSUJII ERUPTS AT THE GREEN MUSIC CENTER
by Nicki Bell
Friday, May 01, 2015
A great painter changes the way we see and understand the world. The extraordinary Nobuyuki Tsujii, a 25-year-old Japanese pianist blind since birth, changes the way we hear music. He has a transformative power. Formidable technique, a staggering mastery of pianistic and tonal color, surprising temp...
Recital
WEILERSTEIN-BARNATAN DUO IN WEILL - REVIEW ONE
by Joel Cohen
Sunday, April 26, 2015
The MasterCard Performance Series in Weill Hall featured an April 26 recital by cellist Alisa Weilerstein and pianist Inon Barnatan. In Beethoven’s substantial D Major sonata, Op.102, No. 2, the duo were clearly at ease with both the technical demands of the writing and with each other. They show...
Recital
WEILERSTEIN-BARNATAN DUO IN WEILL - REVIEW TWO
by Robert Hayden
Sunday, April 26, 2015
This was one of those concerts which far exceeded my expectations. I have heard Alisa Weilerstein several times before, as a colleague in concerts with Jeffrey Kahane, but she has matured and is certainly now one of America’s pre-eminent cellists. Playing before a sadly half empty Weill Hall audie...
Recital
STELLAR TRIO PLAYS ICONIC CHAMBER WORKS IN WEILL HALL CONCERT
by Terry McNeill
Sunday, April 19, 2015
Virtuoso instrumentalists frequently get together in a trio for a few concerts with the resulting playing being exciting but the performance sounding a little unfinished. This was decidedly not what happened with the Mutter-Bronfman-Harrell Trio April 19 in Weill, as the two works on the program ha...
Symphony
LUMINOUS SOUND IN SF SYMPHONY WEILL HALL CONCERT
by Terry McNeill
Thursday, April 16, 2015
Though the Santa Rosa Symphony is the Green Music Center’s resident orchestra, when the San Francisco Symphony plays Weill Hall they take total artistic ownership. In the penultimate of the four annual Bay Area run outs the SFS played a compelling program April 16 of four masterworks with flawless ...
Symphony
WARM RAMADANOFF FAREWELL IN VSO'S MARE ISLAND CONCERT
by Elizabeth Warnimont
Sunday, April 12, 2015
Vallejo bid a fond farewell April 12 to a pillar of the arts community in a concert on Vallejo's Mare Island, as David Ramadanoff directed the Vallejo Symphony in his last concert as conductor. A polite but somber mood hung over Lander hall Sunday and was as pronounced as the notes produced by the ...
Symphony
CONCERTO KÖLN DELIGHTS WITH RARELY-HEARD BAROQUE WORKS
by Joanna Bramel Young
Saturday, April 11, 2015
Weill Hall resonated April 11 with an agreeable group of Baroque works not often heard, though the composers are in fact well known. This assured, skilled plumbing of quiet corners of the repertoire is the specialty of Concerto Köln, based in Cologne, Germany, but received with pleasure throughout t...
CHAMBER REVIEW
Mill Valley Chamber Music Society / Sunday, March 25, 2012
Eroica Trio: Erika Nickrenz, piano; Susie Park, violin; Sara Sant'Ambrogio, cello

Eroica Piano Trio

EROICA PLAYS THREE TRIOS TO PACKED HOUSE IN MILL VALLEY CHAMBER CONCERT

by Elenor Barcsak
Sunday, March 25, 2012

To a packed house March 25 the Mill Valley Chamber Music Society presented their fourth season concert in the Mt. Tamalpais United Merthodist Church, and the Eroica Trio quickly established the "wow" factor in a program of Spanish, Russian and French music.

The opening Cassadó Trio, evoking a freshness in their demeanor that conveyed the music, from 1929, and its Iberian flavor. Pianist Erika Nickrenz’ technical proficiency sounded well in the large church space with even trills and able command of dynamics. Sara Sant'Ambrogio's lush cello line delivered the tango-like passages in the opening movement, balanced beautifully with the singing line from violinist Susie Park.

The playing in the second movement was more languid and projected a broader palette, and the pizzicato effects and rhythmic excitement from the cello were deft. The finale was playful in a dance mode, and foot tapping seemed to be infectious with the audience. There were glistening glissandos and clean scale passage playing from Ms. Nickrenz.

Spoken comments from Ms. Sant'Ambrogio announced the Shostakovich Second Piano Trio in E Minor, Op. 67, and the composition uses unique technical components and harmonics that require the fingers to create an eerie and ghostly sound. The second movement was not a typical playful scherzo, as this movement is impetuous with sarcastic undertones stealthy conveyed. The third movement is a Baroque passacaglia and Ms. Nickrenz displayed careful dynamic control and never covered her partners. The finale, with themes from Jewish tunes, saw the return of the passacaglia and was a highlight of the concert. Ending on a major chord, the work gave rise to hope.

Ravel's A Major Trio comprised the second half and was a refreshing glimpse into the Impressionistic world. The Eroica, now clad in royal red gowns, gave the impression of being considered classical music sovereigns. The instruments have long undulating melodic lines which were in constant balance, with lovely arpeggios. Each of the three movement are related thematically and in the elaborate finale Ms. Park's violin mimicked the rich vibrato from the cello and brought passion to this noble music. In the finale there were moments reminiscent of Debussy's "La Cathédrale Engloutie" (10th Prelude from his First book of Preludes) and a more moderate tempo than one might have wished for.

Following the Ravel there was a standing ovation and the demanded encore was a transcription for all three instruments by Ms. Sant'Ambrogio of the Saint-Saëns "Swan" from his 1886 Carnival of the Animals.