Pacifica Tribune 8

Pacifica Tribune Review of The San Francisco Concerto Orchestra's Competition for Musicians of All Ages January 22, 2006 at Sanchez Concert Hall, Pacifica

Sitting on the rhythm of a standing ovation, Seth Montfort and friends

By Jean Bartlett
Arts Correspondent

When Janis J. Lieberman sounded her horn on the duet “Romance for Horn and Piano, op. 36” by Camille Saint-Saens, a seamless arched line lit up the Sanchez Concert Hall in an eloquent prism of light and defined the nature of her horn as chocolaty and rich.  (P.S. this horn she was playing is commonly called, and double p.s. with a shush attached, wrongly called, the French horn.)  She was accompanied by pianist Marc Steiner who played in almost cathedral stride this song of worth by a composer who could change poetry to note.  It was the first piece in a Sunday afternoon program presented by Seth Montfort’s San Francisco Concerto Orchestra and National and International Competitions for Musicians.  The piece was short. Its effect was profound.  It lasted not nearly long enough.

When Johannes Brahms was a lad, he studied violin, horn and piano.  Later he took that bit of knowledge and composed the piece: “Trio for Violin, Horn and Piano in E-flat Major.”  This was performed by Lieberman and Steiner and the third member of their Sierra Ensemble, violinist Heather Haughn.  Written shortly after the death of Brahms’ mother, “Trio for Violin, Horn and Piano in E-flat Major” asks the horn player throughout to walk the valley of Brahms’ utter sadness and come forth in prayer and deep convictions of emotional healing.  Lieberman on horn set her sail to the palm of Brahms’ wishes.

The piece begins with exciting dialogue between violin, piano and horn.  The violinist and pianist quicken their pace, pulses race as strings and keyboard near collide. The second movement “Scherzo – Allegro” is proud and blistering.  Pianist Steiner semitones remind strongly of darker days not passed, while the violin and horn rally against the dark.  There is even a bit of a dip into blustering elephant walk between violin, horn and piano.  Perhaps Brahms had stopped for a moment to think things over with a beer.  Then it is back to a near lethal power pace until the piece finds its grace in its third movement “Adagio mesto.”

Each instrument played like a clock that ticked the poetry of the day.  It was a beautiful memory driven by the talent of three musicians of extraordinary skill.  On the final movement “Finale – Allegro con brio” the darkness turns to violin and piano laughter and calming notes of worldly horn.  Throughout the ebb and flow of Brahms travel from dark to light, violinist Haughn met her avalanche of notes with precision and compassion of the heart.  Mr. Steiner on piano was glowing dexterity.  And Ms. Lieberman on horn offered a first class blend of sensitive Brahms.

The struggle of life and death was explained by pianist Seth Montfort in an intense, scrupulous performance of Chopin’s “Funeral March” and/or “Sonata No. 2.”  The beginning trembled with momentum and melancholy then slipped into a wild waltz of dreams (Scherzo) until the scurrying notes of the “Finale” rushed through layers of fallen glories and the skies opened up to a safely held heart.  This was an impossible piece to play memorized.  It was memorized. This was a great rustling wind of piano virtuosity.  This was a hypnotic dance of Chopin and Montfort.

This coming Sunday at 5 pm Montfort and friends play the Sanchez.  Come and sit in on the rhythm of a standing ovation.

Ran Pacifica Tribune January 25, 2006