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Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
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...
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.