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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
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.