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Chamber
BEETHOVEN FEATURED IN SF TRIO'S OCCIDENTAL CONCERT
by Terry McNeill
Sunday, January 19, 2020
Conventional repertoire in uncommonly good performances highlighted the San Francisco Piano Trio’s Jan. 19 concert in the Occidental Center for the Arts. Haydn’s No. 44 Trio (Hob. XV:28) came from late in his long career, when he was in and out of London, and received a sparkling reading that featu...
SIMONE PORTER ASPIRES TO STARDOM WITH SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 12, 2020
The Sibelius violin concerto is one of several mountains that violin soloists need to ascend before they can lay claim to stardom. Hundreds make the attempt every year, but only a few reach the top. Simone Porter, who played the concerto with the Santa Rosa Symphony on Sunday afternoon, got close bu...
Choral and Vocal
ORPHEUS OF AMSTERDAM'S MUSIC IN SCHROEDER ORGAN CHORAL CONCERT
by Sonia Morse Tubridy
Friday, January 10, 2020
“All over the map.” Sonoma Bach, directed by Bob Worth, has taken its audiences this season on journeys through many centuries and many lands. The programming is fresh and intriguing and the performers varied and creators of beauty and interest. The January 10 program was centered on organ works by...
Choral and Vocal
OLD NORTH GERMAN CAROLS IN SONOMA BACH'S SCHROEDER CONCERT
by Sonia Morse Tubridy
Sunday, December 15, 2019
“Cast off all sorrows…also dance in heavenly fashion.” A volume called Piae Cantiones was printed in 1582 in North Germany, lively songs going back to the 14th century, and this treasure trove provided material for numerous composers to arrange Christmas carols over following generations, from simp...
Symphony
EVERLASTING LIGHT AT SANTA ROSA SYMPHONY
by Steve Osborn
Monday, December 09, 2019
The Mozart Requiem includes four intermittent vocal soloists, but the real star is the choir, which is featured in almost every movement. That stardom shone bright at the Santa Rosa Symphony’s memorable Requiem performance on Monday night. The soloists were good, but the choir was superb. Located wi...
Symphony
UNFINISHED AND FINNISH
by Terry McNeill
Sunday, December 08, 2019
Having a new resident conductor on the podium for the Ukiah Symphony was an attractive invitation for a long-delayed visit to Mendocino College’s Center Theater Dec. 8. The insouciant Les Pfutzenreuter recently retired after decades of conducting the ensemble, replaced by Phillip Lenberg who also j...
Choral and Vocal
PRAERTORIUS IN RENAISSANCE GLORY FROM SONOMA BACH
by Sonia Morse Tubridy
Saturday, November 16, 2019
Sonoma Bach Choir, in collaboration with Barefoot All-Stars Viol Consort and The Whole Noyse Brass Ensemble, presented “Sing Glorious Praetorius!” November 16 to an almost full Schroeder Hall at the Green Music Center. The Soloists were soprano Dianna Morgan, Christopher Fritzsche, (countertenor), m...
Symphony
ECLECTIC INSTRUMENTAL EXCITEMENT IN SO CO PHIL CONCERT IN JACKSON
by Terry McNeill
Saturday, November 16, 2019
Beginning with a scintillating reading of Rossini’s Overture to the Opera “Semiramide,” the Sonoma County Philharmonic performed a splendid program Nov. 16 in the Jackson Theater, and featured two additional works, one showcasing the winner of the San Francisco Conservatory’s Young Artist Award. It...
Chamber
SPIRITUAL LATE BEETHOVEN QUARTET HIGHLIGHTS MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 10, 2019
Beethoven’s String Quartet No. 14 in C-sharp minor, Op. 131, called “unparalleled in its inexhaustibility” by critic Thomas May, is a daunting challenge. Orchestral in concept, filled with wit and charm, melancholy and fury, it almost overwhelms listeners. Playing the frenetic Scherzo, a viol...
Symphony
MUSICAL EXTRAVAGANCE IN UNIQUE SRS CONCERT IN WEILL HALL
by Terry McNeill
Monday, November 04, 2019
It was a concert full of surprises Nov. 4 as the Santa Rosa Symphony responded to the area’s wild fires and evacuations with challenging, songful and somewhat unique music in Weill Hall. The last of a three-concert series titled "Master of the Modern Banjo" is reviewed here. The evening began with...
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.