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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Centerís Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflťís short and intense Requiem has been heard in Santa Rosaís Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hallís stage March 25 and didnít play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morganís artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hallís wonderful Brombaugh organ. Mr. Morgan, Stanford Universityís resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High Schoolís stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
CHAMBER REVIEW
Trio Navarro / Sunday, February 03, 2013
Marilyn Thompson, piano; Jill Rachuy Brindel, cello; Roy Malan, violin.

Trio Navarro

FROM THE MAGISTERIAL TO THE MACABRE

by Terry McNeill
Sunday, February 03, 2013

Two more disparate chamber works could not be imagined in Weill Hall Feb. 3 when the Trio Navarro presented the Shostakovich Trio in E Minor and Dvorakís ďDumky,Ē also in E minor. Both masterpieces have riveting audience interest but are worlds apart in structure and harmonic language.

Dvorakís trio, popular since its premiere in 1891, received a committed and generous reading from the Navarro. The muddy acoustics of the Nov. 18 Schumann Quintet performance by the Navarro Chamber players had vanished, replaced by a direct Weill sound, albeit with a long reverb time due to the tiny audience. There was generous melodic interplay in the opening Lento Maestoso, and the Trio caught the nostalgia of the C-Sharp Minor Adagio. Violinist Roy Malan played here with a wide vibrato and suitable folk rhythms. His double stops at the movementís end were luxuriant.

The lovely Andante third movement seems to be old hat to this estimable Trio, and they played with a warm sound to let the inherent lyricism shine. In the following two movements, the Trioís insistent stress on instrumental balance, even in the swirl of dissonances (yes, dissonances in Dvorak, seconds and thirds), was exceptionally rewarding. Jill Brindelís cello parts in the fifth movement had long sections, sans rubato, where the sound comes low on the fingerboard with unstopped strings. Pianist Marilyn Thompson played off these phrases and carried the Navarro into a magisterial finale that alternated between yearning and wild gaiety. It was a reading of stable nobility and vitality.

Following intermission, the disturbing Shostakovich Trio No. 2, Op. 67, completed the concert. Ms. Brindel played the opening disquieting cello line harmonics with ardor, though not note perfect. All through this demanding 1944 work, the frequent high tessitura of the violin and cello, contrasting with Ms. Thompson tolling deep bass notes and chords, produced a spiritual and at times menacing sonic tapestry. In many sections the Navarro underplayed the overall drama, concentrating on the relentless drive of the music. The second movement Allegro had echoes of the earlier Shostakovich Quintet in G (Op. 57). The somber orchestral piano chords in the third movement (Largo) began a slow march, almost a threnody, and Mr. Malanís violin playing bordered on the funereal. It was a lament played with care and conviction.

The finale was portrayed by the Navarro as a macabre dance, with frequent cello and violin pizzicato, and an ethereal pianissimo conclusion. There was no thought of an encore, as the great Russian composerís sorrowful musical outcry was moving to the degree that verbal or instrumental bonbons would be paltry fare.

On balance this was the most stirring chamber music concert I have yet heard in Weill, and there is no reason to change my nearly decade-old pronouncement that the Navarro is the finest piano trio before the public in Northern California.