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Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
Recital
LIN'S PIANISM AND PERSONA CHARM SCHROEDER HALL AUDIENCE
by Terry McNeill
Sunday, October 21, 2018
In somewhat of a surprise a sold out Schroeder Hall audience greeted pianist Steven Lin Oct. 21 in his local debut recital. Why a surprise? Because Mr. Lin was pretty much unknown in Northern California, and Schroeder is rarely, very rarely sold out for a single instrumentalist. But no matter, and...
Chamber
HEROIC TRUMPET AND ORGAN MUSIC AT INCARNATION
by Jerry Dibble
Friday, October 12, 2018
The strong connections between Santa Rosa’s musical community and California State University Chico were on display Oct. 12 as David Rothe, Professor Emeritus in the Chico Music Department, and Ayako Nakamura, trumpet with the North State Symphony, presented a concert titled “Heroic Music for Trumpe...
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.