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Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
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...
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.