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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, April 24, 2011
Roy Malan, violin
Jill Rachuy Brindel, cello
Marilyn Thompson, piano

Trio Navarro at SSU Easter Sunday Concert

ROREM'S KNOTTY SPRING MUSIC PLAYED BY TRIO NAVARRO AT SSU CONCERT

by Terry McNeill
Sunday, April 24, 2011

Continuing a stellar history of innovative piano trio programming, the resident SSU Trio Navarro closed their season April 24 in an Easter Sunday concert replete with two large novelties and a slightly more familiar work by Beethoven.

Before 90 listeners in the Green Music Center’s orchestra rehearsal room, the Navarro first tackled Rorem’s Spring Music, an eclectic 1990 work premiered by the Beaux Arts Trio. In five extended movements, the music isn’t easy to easily assimilate and in his introductory remarks violinist Roy Malan alluded to the composer’s clever compositional nature and the sobriquet of music’s “bad boy.” Both references have validity, though in at least the last century George Antheil could lay claim to both epithets. But Rorem is very much alive, each of his many books a salacious experience and his large oeuvre provocative, especially in the non-vocal pieces.

The Spring Music I found haunting, the three instrumental lines often far apart and then often in unison, and an insistent rhythmic pulse everywhere in evidence save for a lyrical Fantasia section. In this section cellist Jill Rachuy Brindel has long solos in a low register and in duos with Roy Malan’s violin line. Low frequencies in the cello were rich. Pianist Marilyn Thompson never overpowered her colleagues and the part oddly was frequently removed from the instrumental texture with loud bass chord crashes and propulsive right-hand skips for the piano and high tessitura for the violin.

This is a work of sharp contrasts and often contradictory character, and also it’s a piece of glorious instrumental sound that the composer manipulates deftly and the afternoon’s highlight for this reviewer. Was it well played? I suspect so, at least on a single hearing amid the less-than-reverberant acoustics of the room.

The first half ended with a late 19th Century novelty, Carl Frühling’s A Minor Trio, Op. 40. It’s Brahmsian from the first measure and through four movements never retreats from an initial bucolic outlook. There are continual harmonic references to Franck’s Quintet, written 20 years earlier, and to the music of Louis Vierne and St. Saens’ lush tone poem “Omphales’s Spinning Wheel.” At times thick and insurgent harmonies blurred the lyrical nature of the work and it was at turns repetitious. The Navarro played it with gusto and a sprinkle of wrong notes in the piano. The big Brahms-like phrases in the coda of the finale Allegro vivace brought this strange work to a powerful conclusion.

If Rorem could be described as clever and Frühling imitative, neither could be said of Beethoven and his E-Flat Major Trio, Op. 70, No. 2, the sole second half work. The Bonn master is endlessly inventive in this cheerful trio, a close partner in style and sound to the Op. 69 cello sonata. There was cohesive playing in the opening Poco sostenuto as well as the following two Allegretto movements. The Narvarro’s strengths were readily apparent, rhythmic security and etched vocal lines, but also some sloppy ensemble playing and persistent intonation problems from Mr. Malan. In the Allegro finale there was stylish playing, the movement’s joy readily communicated. No encore was offered.

Finishing another exemplary season the Trio Navarro continued its long string of exploration of provocative works with the Rorem’s bracing music overshadowing the lyrical Frühling and the systematic Beethoven reading. An energetic balance indeed for a warm spring day concert.