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Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
Recital
MUSCULAR PIANISM DOMINATES MILL VALLEY CHAMBER SOCIETY RECITAL
by Terry McNeill
Sunday, March 12, 2017
Piano recitals since the beginning of the genre open with finger pieces - Scarlatti or Soler Sonatas, Bach, a Mendelssohn Prelude and Fugue or perhaps Mozart or Haydn. Sarah Daneshpour’s March 12 opening work at the Mill Valley Chamber Music Society series abruptly avoided the norm with the 10-minut...
Recital
NOVEL HAYDN AND SCHUMANN IN YARDEN'S OAKMONT RECITAL
by Terry McNeill
Thursday, March 09, 2017
Israeli pianist Einav Yarden has been a frequent Sonoma County visitor, playing private recitals for Spring Lake Village and Concerts Grand, and twice performing for Music at Oakmont. The Berlin-based artist returned to Oakmont’s Berger Auditorium March 9 with a program that was neither for connois...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Recital
BRILLIANT VIOLIN AND PIANO ARTISTRY CHARMS SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, February 26, 2017
A tiny Schroeder Hall audience heard a flawless recital Feb. 26 by Yu-Chien Tseng, arguably the best recent local violin recital since Gil Shaham’s transversal of the complete Bach Suites in Weill and Frank Almond’s Oakmont recital in 2015. Muscular playing was the afternoon’s norm, and with pianis...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
CHAMBER REVIEW
Trio Navarro / Sunday, November 06, 2011
Trio Navarro: Roy Malan, violin; Jill Rachuy Brindel, cello; Marilyn Thompson, piano

Sonoma State University's Trio Navarro

BRIDGE AND TURINA WORKS SPARKLE IN TRIO NAVARRO CONCERT AT SSU

by Terry McNeill
Sunday, November 06, 2011

An old musical friend was juxtaposed with two not-quite-so-old interlopers Nov. 6 when the venerable Trio Navarro opened their 2011-2012 season at Sonoma State University’s Green Music Center 1028. Mendelssohn’s iconic D Minor Trio was the old shoe and Trios by Bridge and Turina were the unfamiliar fare.

In a surprise program alignment the rarely-played Bridge C Minor Fantasie Trio and Turina’s Op. 35 Trio comprised the long second half, and both works are episodic and difficult to get to know in a single hearing. The Turina, from 1926 and written in a style that combines Spanish elements with arguably early 20th Century French style, received a strong performance led at the outset by violinist Roy Malan’s penetrating high register. The rhapsodic nature changed quickly in the following Theme and (5) Variations to a more somber tone. Mr. Malan alternated bright pizzicato phrases with cellist Jill Brindel, combined with intriguing rhythmic syncopations. Pianist Marilyn Thompson deftly played the jazz-influenced Basque dance (zortziko) in the third variation, the obverse to the murmuring pianissimo ending in the strings.

The Trio attached the concluding movement aggressively, the piano part marching up and down the keyboard and heralding themes from the preceding movements.

Bridge’s first Trio (Fantasie) dates from 1908 and is in a single movement. The Navarro’s quick and impulsive opening set the stage for the rich but often darkly-tines melodic lines from the cello and violin, the specter of Faure not far away. The ensemble was particularly good in the swirl of notes, Ms. Thompson pushing the pace. The noble second theme was elegantly played by Ms. Brindel with a broad vibrato and subtle ritards are phrase endings. On either side of the beguiling central Andante the performance sparkled and often surged. It was music in a performance that was optimistic when compared to the intricate Turina.

The concert began with the first Mendelssohn Trio, Op. 49, perhaps the most played work now before the public for this combination of instruments. The performance was dedicated by Ms. Brindel to the memory of her mother who had died the previous day. In the opening Molto allegro ed agitato with its extended patrician cello solo the chosen approach was slow and lyrical, lacking the usual speed and snap that characterizes much of the music. Mr. Malan’s tone and projection, soaring during the Turina and Bridge, was here often covered by Ms. Brindel in a venue that seems to love low frequencies. Ms. Thompson, a consummate chamber music pianist, chose clarity over drama and never covered her partners. It was playing of refinement and proportion but lacked energy.

In the lyrical Andante the tempo was again relaxed with subtle voice leading from the pianist and cellist, and Ms. Thompson varying the character of the repeats with discerning dynamic changes. The charming Scherzo, always a crowd pleaser, found Mr. Malan making small portamento to lovely effect. In the concluding rondo (Allegro) Ms. Brindel dug deep, projecting a bass line to compliment the galloping scales from the pianist. Missing in the sonic balance were some of the sforzando outbursts, especially from the piano part, that add spice and make this revered work feel like a welcome acquaintance.

Mention needs to be made of the room's piano, celebrating its 100th birthday and a favorite instrument of Ms. Thompson. There is captivating music coming in the piano’s next century, and plenty of life in the old girl yet.