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Chamber
FLORESTAN TRIO'S MENDELSSOHN AT SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Friday, March 08, 2019
Spring Lake Village’s monthly concerts usually clock in under an hour, but the March 8 Florestan Trio’s performance was more extended as so much good music was on tap for the 125 residents attending at Santa Rosa’s premiere retirement residence facility. Four short pieces made up the first half, be...
Chamber
TILDEN TRIO'S BOHEMIAN ENERGY AT DOMINICAN CONCERT
by Terry McNeill
Sunday, March 03, 2019
Hard on the heels of the Trio Navarro’s late February concert in Sonoma State’s Schroeder Hall, Northern California’s other premiere resident piano trio, the Tilden, played an equally convincing program March 3 in Dominican University’s Angelico Hall. Clearly each hall’s acoustics, stage pianos and...
Recital
24 SONGS IN A MENKE-THOMPSON RECITAL ODYSSEY
by Terry McNeill
Saturday, February 23, 2019
Sonoma County pop and country singing enjoys continued popularity but it rare to see a professional classical vocal concert announced. Diva Ruth Ann Swenson was once a local star, but she has long departed and not much virtuoso recital singing can be found in the North Bay. But the exception to th...
Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Recital
GLOVER'S ECLECTIC PROGRAMMING HIGHLIGHT'S CINNABAR RECITAL
by Terry McNeill
Sunday, February 17, 2019
Daniel Glover is arguably the busiest virtuoso pianist in the San Francisco Bay area, but rarely is heard in North Bay concerts. So 90 local pianophiles were anxious to hear him Feb. 17 in Petaluma’s charming small Cinnabar Theater, and they were rewarded with an eclectic program of sometimes unfam...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
CHAMBER REVIEW

Trio Navarro

TRIO NAVARRO TURNS QUARTET AT SSU

by Terry McNeill
Sunday, May 17, 2009

Season-ending chamber music concerts, especially in the spring, often feature repertoire of a less-demanding nature, light as May breezes. The Trio Navarro would have none of that at their May 17 concert, programming two massive piano quartets, both demanding focus and stamina from the performers and the 60 listeners in Sonoma State’s Ives Hall.

Adding the wonderful violist Nancy Ellis to their longstanding ensemble, the Navarro plunged first into the Piano Quartet of William Walton, written in 1919 when the composer was only 17. It’s an assured work, filled with the harmonic language of Ravel and the drive of a lesser-known Gallic composer, Louis Vierne, whose great Piano Quintet mirrors the dynamism of the Walton as much as Ravel’s rich intervals. The presence of the viola, and perhaps the close proximity of the shell to the piano, made for a better sonic balance than the usual emphasis on low (mostly cello) frequencies in Ives 119. Roy Malan’s violin high tessitura sounded radiant, particularly at the end of the opening Allegramente movement , where his telling five-note phrase over cello and viola pizzicato provided a breathtaking reprise from the tumult.

Stridency continued in the Allegro Scherzando, with a three-instrument string fugue, led by cellist Jill Brindel. Pianist Marilyn Thompson finally entered with an orchestral sound. The Navarro caught the menacing nature of the music, announced by a descending triad and continuing with another fugue to the finish. There is little connection with any other composer here, the writing demonic and wholly individual.

The lyrical third movement was totally different, with strumming arpeggios from the piano. Brindel’s cello sang a lovely theme, handing it off to Ellis’s viola, and there was just an echo of Vaughan William’s “Lark Ascending” from Malan’s elegant violin.

The finale returned to tone-cluster outbursts from the piano, and to rhythms that paralleled Stravinsky’s Petrouchka. Here the Trio’s interplay of line was superb, the bright acoustics of Ives contributing to the impact. Sforzandos in the piano’s bass came thick and fast, an accession to the thunder of Walton’s conception. This was a striking performance of a rarely played piano quartet, and bravos from the audience were plentiful.

Following intermission, the Navarro presented another piano quartet, the Op. 26 Brahms in A Major. The opening theme from the piano continued the dense textures of the Walton but added masterful counterpoint. The tempos were leisurely, but the momentum was never lost, with Thompson’s piano line sensuously underpinning the strings. Everything was serene in the Poco Adagio, pedal points in the piano and heart-on-sleeve romanticism lending a nostalgic air to the movement. There are big contrasts and thematic equality in this movement, and the Navarro made the most of them, with the cello frequencies sometimes being felt on my feet, planted firmly on the wood risers at the back of the room.

The Scherzo’s “question and answer” sections were a premonition of the rambunctious, ardently played Finale. The Brahms is a long work, and coming after the Walton, it stretched the listener’s attention. Nonetheless, I found the reading convincing.

Closing a three-concert SSU season, the Navarro’s virtuosic performance gave no reason to alter my view that this is the finest resident piano trio (with estimable guest performers) in Northern California.