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Choral and Vocal
SOMBER GERMAN POETRY IN SONG AT ROSCHMANN RECITAL
by Terry McNeill
Sunday, February 18, 2018
Two weeks does make a hefty difference. Feb. 3 saw the diva Renée Fleming beguile a full Weill Hall house in a mix of Brahms, Broadway show songs and Dvorak chestnuts. It was a gala event with couture gowns and colorful extra-musical communication between singer and her rapt audience. Dorothea Rösc...
Chamber
KIM-PETERSEN DUO SHINE IN MILL VALLEY CHAMBER RECITAL
by Abby Wasserman
Sunday, February 18, 2018
“Bomsori” means “the sound of spring” in Korean, and violinist Bomsori Kim’s sound is like spring - fresh, clarion, and nuanced. Her expressiveness and obvious pleasure in engaging with audiences is substantial, and she partnered with pianist Drew Petersen in a Feb. 18 recital for the Mill Valley C...
Recital
ROMANTIC MUSIC AND AMBIANCE AT SEB ARTS RECITAL
by Nicki Bell
Sunday, February 18, 2018
Sebastopol had is own musical salon Feb. 18 with visits to Paris of the 1830s, and side trips to Wales and Germany. Pianist Robyn Carmichael presented a concert of favorite romantic masters and their muses, loves and inspirations, with music of Chopin, Liszt Mendelssohn and Schumann. This was no c...
Chamber
NOVEL AND FAMILIAR WORKS FROM THE TILDEN TRIO
by Terry McNeill
Sunday, February 11, 2018
North Coast chamber music fans have the luxury of two fine resident piano trios, with the frequently performing Trio Navarro at Sonoma State, and the Tilden Trio at San Rafael’s Dominican University. The Tilden plays less often, but their Feb. 11 performance brought several hundred to Angelico Hall ...
Symphony
A FIFTH CONTENDER ENTERS THE RING FOR THE SANTA ROSA SYMPHONY
by Steve Osborn
Saturday, February 10, 2018
In these international times, what makes a piece of music American? For Michael Christie, the answer is that it needs to have at least premiered on these shores, if not been composed here. Thus the rationale for the “all American” program that Christie--the fifth and final conducting candidate for t...
Chamber
BERLIN WIND QUINTET'S NOVEL PROGRAM SCORES IN WEILL CONCERT
by nicholas xenelis
Friday, February 09, 2018
Driving into the Green Music Center parking lot Feb. 10 I knew there was something unusual taking place since the lot was nearly full. Was another event going on this same night? A large crowd in Weill Hall isn’t expected for chamber music, in this case with the Berlin Philharmonic Wind Quintet. S...
Recital
HAUNTING RACHMANINOFF WORKS IN HU'S MAO RECITAL
by Terry McNeill
Thursday, February 08, 2018
Ching-Yun Hu made a return Music at Oakmont appearance Feb. 8 in Berger Auditorium, reprising a recital she made in the same hall four years ago. Many of the recital’s trappings were the same, but the music Ms. Hu chose to play was decidedly different. All afternoon the pianist was in an aggressiv...
Chamber
A COMPLETE ARTISTIC PACKAGE IN FLEMING'S WEILL HALL RECITAL
by Vaida Falconbridge and Mary Beard
Saturday, February 03, 2018
The diva Renée Fleming strode on the Weill Hall stage Feb. 2 in her first couture gown of the evening, a gray and swirling cream strapless sheath with flamboyant coordinating stole. For this concert, Ms. Fleming stayed to somewhat lighter fare, foregoing heavier dramatic and coloratura arias for a v...
Recital
ZNAIDER-KULEK DUO CHARMS AND CHALLANGES WEILL AUDIENCE FEB. 2
by Terry McNeill
Friday, February 02, 2018
Weill hall has mounted several exceptional piano recitals, with Garrick Ohlsson’s titanic Liszt concert, and of course Lang Lang’s two insouciant but also compelling performances topping the list since 2013. But arguably the virtuoso violinists have on balance been more impressive, and thoughts g...
Chamber
VIVID GERMAN ROMANTICISM IN VOM FESTIVAL CONCERT IN SCHROEDER
by Terry McNeill
Saturday, January 27, 2018
Though not new to Sonoma County, the Valley of the Moon Music Festival (VOM) concerts are relatively recent in the Green Music Center’s Schroeder Hall. So the first of three spring concerts Jan. 27 provided a picture of what’s in the repertoire leading up to their Festival this summer at Sonoma’s Ha...
CHAMBER REVIEW
Trio Navarro / Sunday, February 28, 2010
Roy Malan, violin; Jill Rachuy Brindel, cello; Kumarin Arul, piano

Roy Malan and Kumaran Arul

TRIO NAVARRO WITHOUT THE O

by Terry McNeill
Sunday, February 28, 2010

In a sharp change from past concerts, the Trio Navarro gave an abbreviated program Feb. 28 in Sonoma State University’s Ives Hall, reflecting a temporary substitution in personnel. Marilyn Thompson, the Trio’s founding pianist, was absent due to pending shoulder surgery, and the anticipated trios of Cassadó and Catoire could not be managed in the available rehearsal time. What was presented was a blend of some familiar works and something quite rare.

Joining violinist Roy Malan and cellist Jill Rachuy Brindell was Stanford University faculty artist Kumaran Arul. Mr. Arul is no stranger to Sonoma County, having played recently on the Absolute Music Series. More importantly, he paired with Mr. Malan at last summer’s Mendocino Music Festival in the Dvorak Sonatina and the Grieg C Minor Sonata. These works, with Ms. Brindell acting as page turner, constituted the first half.

Once called a “student work,” the G Major Sonatina, Op. 100, reflects American Indian and African-American influences from the Czech composer’s 1893 stay in Spillville, Iowa. The opening had the requisite joy and Dvorak phrasing, and the following Larghetto was a lovely lyrical lament with Mr. Arul’s control of pianissimo faultless and Mr. Malan’s double stops precise. The third movement, seemingly a village dance, found the two instruments in “question and answer” phrasing, with the piano often covering the violin. The final Allegro was a rollicking dance with syncopated rhythms, bursting with themes unique to Dvorak. The lyrical middle part was reminiscent of Hollywood movie scores, ending with the violin secure at the top of its register.

Grieg’s great Violin Sonata, Op. 45, is a stern test for musicians. The Sonoma State performance was similar to the reading of last July, the main theme appearing as a lovely duo. A few notes were changed by Mr. Arul during his first statement of the grand theme, but the balances were good, and the coda was powerful and thrilling. The Romanza second movement is one of the composer’s most inspired creations, and Mr. Malan was totally at home in the lyricism. He played the descending passage at the end with wide vibrato, then an ascending phrase which leads up to an E natural, two octaves above the open E string. Here, unlike the performance on the Coast, he took almost no vibrato, as a harmonic. The audience was in breathless silence.

Mr. Malan dug deep in the finale, taking the downward second theme quite slowly to a rich tenor area with a wide vibrato. Here the piano covered much of the string sound, not stemming from any lack of effective pianism but presumably due to the room’s acoustics and linoleum tile floor surface. The ending had great impact and a complete unity of artistry.

Praise for the Grieg aside, the musical highlight for this reviewer was five of Bruch’s Eight Pieces for Piano and Two Instruments. The two instruments have included the violin, viola, clarinet and cello, and of course here Ms. Brindell joined Mr. Malan and Mr. Arul in a cogent and committed performance. Three of the pieces are lyrical, but in a somber and sad way, songful but tending towards nostalgia. Even the third work, at a fast tempo, had the same compositional nature. The addition of the rich cello line, always forward in Ives Hall, blended well with the piano. The fourth was an individual favorite, Mr. Malan’s violin singing phrases in a high register over handfuls of arpeggios from the piano, and ultimately unison cello and violin lines combining beautifully.

The Bruch doesn’t allow easy identification. There are short bits of Brahms, but the language is different enough to defy a tie-in with another composer. I would enjoy hearing the complete set in whatever form the Trio Navarro chooses.