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Recital
MYER'S MENDO FESTIVAL RECITAL SPOTLIGHTS MOZART TO BALCOM
by Terry McNeill
Wednesday, July 22, 2015
Completing the Mendocino Music Festival’s piano series July 22 was an energetic recital by returning Festival artist Spencer Myer. The nearly full Preston Hall audience was treated to a program, announced from the piano, that had broad musical appeal and panache. Exploring the Festival’s Mozart t...
Chamber
CLARINET MUSIC LAUNCHES NEW FESTIVAL IN SONOMA VALLEY
by Terry McNeill
Sunday, July 19, 2015
Among the several North Coast summer festivals in 2015 is a new one, the Valley of the Moon Music Festival, directed by San Francisco-area artists Tanya Tomkins and Eric Zivian. It’s unique in presenting seven concerts of the Classical and Romantic eras with instruments designed and mostly built wh...
Opera
OPERA BUFFA HI JINX IN ROSSINI'S BARBER AT MENDO FESTIVAL
by Ken Bullock
Friday, July 17, 2015
During his July 17 lecture before the sole Mendocino Music Festival performance of Rossini’s The Barber of Seville, stage director Eugene Brancoveanu spoke of Commedia Dell’Arte. Mr. Brancoveanu, who sang the baritone title role of Figaro, alluded to the stylized clowning that is sometimes p...
Recital
ELEGANT SCRIABIN, CHOPIN AND GRANADOS IN MENDO FESTIVAL RECITAL
by Terry McNeill
Thursday, July 16, 2015
Taiwanese pianist Ching-Yun Hu made a formidable Mendocino Music Festival debut recital July 16 in Mendocino’s Preston Hall. A full house warmly greeted the diminutive artist, and she responded with a pensive and then dramatic performance of Scriabin’s Sonata Fantasy, Op. 19. Writers refer to thi...

by Terry McNeill
Wednesday, July 15, 2015
Test Review Here it is. TM ...
Symphony
SPLASHY RUSSIAN MUSIC IN MENDOCINO MUSIC FESTIVAL OPENER
by Terry McNeill
Saturday, July 11, 2015
Summer music festivals season tend to be launched each season with a sparkling audience-pleasing program, and the 29th Mendocino Music Festival opening concert was no exception July 11 with an all-Russian program in the big white tent concert hall on Mendocino’s breezy bluff. Conducted by Artistic ...
Recital
FRENCH ROMANTIC ORGAN MUSIC IN NUMINA RECITAL
by James Harrod
Friday, July 10, 2015
Etienne Walhain played a magical recital July 10 of organ music of Bach, Scarlatti and Franck. Displaying total command of the Church of the Incarnation’s Casavant instrument under his hands and feet, Mr. Walhain performed his program from memory with breath taking speed, accuracy, and clean articul...
Symphony
BRANDENBURGS A SPIRITUAL GIFT IN FINAL CHAMBERFEST CONCERT
by Terry McNeill
Sunday, June 28, 2015
“Well, you should have been there.” A trite saying used too often by concertgoers? Sure. But surely it was the appropriate adage for the final Chamberfest concert June 28 in Sonoma State’s Weill Hall. Capping a nine-event series mostly in Schroeder Hall, Jeffrey Kahane led ensembles of up to 20 ...
Recital
TWO EXEMPLARY ORGAN RECITALS HIGHLIGHT CHAMBERFEST
by James Harrod
Sunday, June 28, 2015
Baroque music aficionados and organists were glued to their seats at Chamberfest’s June 27 and 28 when Malcolm Matthews performed two amazingly perfect recitals of Baroque organ music from North Europe of the 16th and 17th centuries. The two prodigious concerts included no less than 17 selections,...
Chamber
INTREPID VIRTUOSITY IN PAREMSKI'S BRAHMS VARIATIONS
by Terry McNeill
Friday, June 26, 2015
Sonoma County organist James Harrod contributed the organ work analysis in this review. Pianist Natasha Paremski had the stellar role June 26 in the third Chamberfest program in Schroeder Hall, beginning with Beethoven’s A Flat Sonata, Op. 110. Classical Sonoma was unable to review the Sonat...
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.