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Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and it’s often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
Symphony
FOREIGN AFFAIRS CHARACTERS OF THE BAROQUE
by Sonia Morse Tubridy
Sunday, March 12, 2017
Akademie für Alte Musik Berlin, known as Akamus, played a Weill Hall concert March 12 in a program called "Foreign Affairs -Characters of the Baroque.” The ensemble, that began in 1984, has 15 musicians led by concert master Bernhard Forck. Attired in elegant black with red accents, ranging from tie...
CHAMBER REVIEW
Trio Navarro / Sunday, October 26, 2014
Jill Brndel, cello; Victor Romasevich, violin; Marilyn Thompson,piano

Romasevich, Thompson and Brindel

A BRUCH SURPRISE IN TRIO'S SCHROEDER CONCERT

by Terry McNeill
Sunday, October 26, 2014

Part of the Trio Navarro’s sterling reputation rests with the rare repertoire they perform. So it was a bit of a surprise Oct. 26 in Schroeder Hall when they programmed popular works by Beethoven and Rachmaninoff. Somehow Max Bruch pieces managed to sneak into the mix.

The Bruch in a way stole the show. Four selections were played from a work transcribed from the original Op. 83 for viola, piano and clarinet. The Navarro performed Nos. 2, 5, 6 and 7, all in a minor key save for the last. In the opening B Minor part, cellist Jill Rachuy Brindel and pianist Marilyn Thompson gave the music a surging darkness that carried over to the next part (Andante) in F Minor. This music was way out of fashion when composed in 1910, and there is no hint of Dvorak, Rubinstein or Tchaikovsky, but sporadically fleeting Schumann harmonies are heard.

The common thread in the Bruch is lush romanticism, and the Trio’s performers alternated stating the theme in the G Minor “Night Song.” Violinist Victor Romasevich’s tone is not especially rich in harmonics, but it is penetrating, and he never covers the cello line.

The concluding B Major Allegro alternated light-hearted rhythms that at times turned dark and demanding. With only 80 people in a hall seating 250, some piano runs were acoustically muddy, though the string sound was always direct and vivid.

Composed in 1811, the Beethoven B Flat Trio of Op .97 (Archduke) comprised the entire second half, and the Navarro gave it a dramatic and spacious reading. Ms. Thompson started the initial Allegro at a fast clip, and the Navarro played the iconic work in a thoroughly modern style, eschewing the heart-on-sleeve approach of past performances by trios such as Cortot, Thibaud and Casals. In the lovely Andante Cantabile, the music was a question-and-answer of plaintive voices, with Ms. Brindel’s resonant cello baritone sounding out strongly in the hall.

Rachmaninoff’s G Minor Trio (“Élégiaque”) opened the concert, an early work from 1892 that has all the seeds of the composer’s ambrosial harmonies in the later cello sonata and the famous concertos and symphonies. Again Ms. Brindel had a starring role, trading dramatic outbursts with Mr. Romasevich’s energetic violin part.

As might be expected from the great pianist-composer, the piano sound could be dominant, though Ms. Thompson attentively worked to balance her sonority with that of the ensemble.

This concert gave me no reason to alter a long-ago observation that the Trio Navarro is the finest resident classical music trio in Northern California.