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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...
REVIEW

The Trio Navarro

ARENSKY TOPS RUSSIAN TROIKA

by Terry McNeill
Tuesday, November 18, 2008

Trio Navarro, Sonoma State’s resident ensemble, played the second of their season’s four concerts on Nov. 9 in Ives Hall, juxtaposing three rarely heard works of disparate length and impact.

The concert began with Rachmaninoff’s early G Minor Trio (“Elegiaque”), composed in 1892, long before the more revered works in the composer’s canon. The composition received a full-throated reading, with proper references to the Tchaikovsky Trio of a decade earlier and a wonderful cello line from Jill Rachuy Brindel. As always, the acoustics of Ives 119 favor low frequencies, and diminish upper string warmth. Roy Malan seemed tentative with the violin part, deferring to his partners. The nostalgic and sad ending, with the main theme repeated and underscored by piano tremolos, was stretched out and lovely. The Elegiaque is a work not often heard, and it fades easily from memory.

Even less canonic than the Rachmaninoff are the Four Miniatures, Op. 18/24, by the Swiss/Russian composer Paul Juon. Oddly, each of the four movements has a different opus number. The Navarro played all of these well, especially the sensuous opening Reverie, with its hints of the second Arensky Trio. The violin and cello interplay here and in the ethereal Elegie Andante Cantabile were elegant outpourings of sound. The march-like second movement and the waltz-like finale paraded an extravagant piano part, performed with secure rhythms and clarity by Marilyn Thompson. The Miniatures were well worth hearing, but they also seem fated to slip from memory.

Quite another matter is the Arensky Trio in D Minor, Op. 32, which occupied the entire second half. I must confess a penchant for this work, beginning many years ago with a Los Angeles performance by Pennario, Heifetz and Piatigorsky. The trio can be played rather fast and secco as the Beaux Arts Trio does, or in the lush “leaning into the phrase” manner of the savory Borodin Trio recording. The Navarro adopted the quick-tempo approach, which is certainly legitimate but seems to lack the necessary languor. Thompson used many slight ritardandos at the ends of phrases, allowing some violin voice leading in the opening Allegro moderato to bring forth the noble theme.

The following Scherzo produced intriguing plucking string sounds and a swaggering middle section. Thompson pushed the tempos throughout, often bordering on raucous playing, and half-pedaled most of the runs. The celestial Adagio belongs to the cello, and Brindel’s bow control was exemplary, the arpeggios even and sweet. The unison cello-violin ending was transfixing, with the last chords reluctantly given to the piano.

The dramatic finale begins again with a nod towards Tchaikovsky, the cello introducing the theme and then giving it to the increasingly singing violin. This juxtaposition of drama and lyricism goes through three cycles, and then the big theme from the first movement surprisingly appears. Arensky seems to want to ensure the supremacy of the piano, and Thompson seized the moment and drove things into a heroic conclusion.

The Arensky trio is a formidable composition, and it was expertly played by the Navarro. For future programs, I vote for the arcane and Schumannesque second Arensky Trio, Op. 73.

The Navarro was in fine form and provided for 70 people a classical companion to the memorial music held in the adjacent Warren Auditorium for the late SSU faculty member, Mel Graves. Mention should be made of the upgraded printed programs, more colorful and informative than the vapid specimens distributed at previous years’ concerts.