Home  Reviews  Articles  Calendar  Presenters  Add Event     
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
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 Dvorak’s “Dumky,” also in E minor. Both masterpieces have riveting audience interest but are worlds apart in structure and harmonic language.

Dvorak’s 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 movement’s 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 Trio’s insistent stress on instrumental balance, even in the swirl of dissonances (yes, dissonances in Dvorak, seconds and thirds), was exceptionally rewarding. Jill Brindel’s 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. Malan’s 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 composer’s 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.