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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
Green Music Center / Sunday, March 31, 2013
Trio Navarro and Friends. Roy Malan, violin; Jill Rachuy Brindel,cello, William Klingelhoffer, horn; Natalie Parker, clarinet; Marilyn Thompson, piano

Brian Wilson, William Klingelhofffer, Roy Malan, Marilyn Thompson In Weill March 31

THE FAMILIAR, THE RARE AND THE NEW

by Terry McNeill
Sunday, March 31, 2013

Sonoma State's resident Trio Navarro has a well-earned reputation for eclectic programming, and in their Easter Sunday concert in Weill Hall, they chose the familiar, the rare and the new.

The new was SSU faculty composer Brian Wilson's "And Ezra the Scribe Stood Upon a Pulpit," a trio for horn, violin and piano. It proved to be a tantalizing 14-minute score, beginning with a rumble and a descending sets of chords, with William Klingelhoffer's delicately audible horn emitting hushed staccato notes. The piece's air of mystery suited the references to the Torah, and it had insistent rhythms throughout.

Violinist Roy Malan had extended solo passages in sections reminiscent of jazz motifs, often over an Alberti bass figure from pianist Marilyn Thompson. The work ended with the violin the top of its range, to eerie effect. Similar to all of Mr. Wilson's music I have heard, "Ezra" is deftly written and uses instrumental timbres effectively to create absorbing music.

Brahms' familiar E Flat Horn Trio, Op. 40, came next in a capable performance that never quite soared in the large Weill space. Mr. Klingelhoffer played in a seamless style that melded well with the violin and piano, but the sonic fabric in both the Scherzo and Adagio movements was sporadically muddy. As was the case with one of the Trio's previous performances in Weill, the piano sound was indistinct and tended to recede into the mix, moving the violin to the forefront.

The thick and muted sonics in the Brahms may have been a byproduct of the size of the crowd. With only 150 people in Weill's 1,400 seats, the sound lacked focus. Possible solutions to this sonic anomaly include shutting the east-side curtains, installing a shell, or moving chamber music concerts to the soon-to-be-completed Schroeder Hall.

Curiously, the acoustics of the concluding work--Vaughan Williams' rarely hear early Quintet in D--were distinct. Clarinetist Natalie Parker and cellist Jill Brindel joined the three other musicians to play this four-movement composition, which is long on bucolics but short on concise structure. Fragments of themes abound, and the march-like Andantino features a lovely tune, but the overall impression of this 1898 work is one of youth and more important things to come.