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Symphony
A SLICE OF HEAVEN FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, January 13, 2019
Under its vibrant new music director, Francesco Lecce-Chong, the Santa Rosa Symphony this past Sunday offered a nearly perfect afternoon of Mozart (Symphony No. 40) and Mahler (Symphony No. 4). While the two works share a common digit, the only element uniting them is genius. They made for a dazzlin...
Recital
KHOZYAINOV'S BRILLIANT PIANISM IN MILL VALLEY RECITAL
by Abby Wasserman
Sunday, January 13, 2019
In its third concert of the season the Mill Valley Chamber Music Society Jan. 13 presented Russian virtuoso Nikolay Khozyainov. His intelligent and sensitive interpretations, masterful pedal work, and virtuoso technique left the near-capacity audience in Mt. Tamalpais Methodist Church astounded and ...
Chamber
A COMPLETE MUSICAL PACKAGE IN ARRON'S OAKMONT RECITAL
by Terry McNeill
Thursday, January 10, 2019
Cellist Edward Arron has been a welcome artist at the Music at Oakmont series, and after his Jan. 10 recital it’s easy to understand his popularity. His artistry is a complete package, with potent instrumental technique wedded to integral musical conceptions. In a nearly flawless concert with pian...
Choral and Vocal
COMPELLING WEILL HALL MESSIAH ORATORIO FROM THE ABS
by Terry McNeill
Saturday, December 15, 2018
Each holiday season when a Classical Sonoma reviewer is assigned to cover a concert with Handel’s seminal Oratorio The Messiah, the question arises about what new commentary can possibly apply to the often performed choral work. Well, if it’s the American Bach Soloists performing the piece, written...
Opera
PURCELL'S DIDO IN YOUTHFUL SSU OPERA
by Abby Wasserman
Wednesday, December 05, 2018
A doomed royal love affair, the theme of Purcell’s Dido and Aeneas, was brought to lovely life at Sonoma State University Dec. 5 in the school’s Schroeder Hall. Conducted by faculty member Zachary Gordin, who also played continuo, the performance was only the second opera production presented by the...
Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
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...
CHAMBER REVIEW
Trio Navarro and Friends / Sunday, October 04, 2015
Victor Romasevich, violin; Jill Rachuy Brindel, cello; Marilyn Thompson, piano

Trio Navarro in 2014

ARCANE ARENSKY TRIO HIGHLIGHTS NAVARRO'S SEASON OPENING CONCERT IN SCHROEDER

by Terry McNeill
Sunday, October 04, 2015

One would have thought that the glitz surrounding Lang Lang’s 101 Pianists Foundation program Oct. 4 in Weill would have upstaged chamber music at the same time in nearby Schroeder Hall. Not to worry, as the Trio Navarro continues to perform sometimes-neglected gems from the trio literature with a level of artistry that the Chinese superstar might grandly applaud.

In Rimsky-Korsakov’s My Musical Life he writes in 1905 that the works and life of his pupil Anton Arensky “…will soon be forgotten.” And that has mostly been so, with the exception of piano bagatelles, some suites, two string quartets and the first Trio in D Minor. The Navarro programmed the rarely heard second Trio in F Minor, Op. 73, for the second half of the concert, and scored a minor triumph with it before an audience of 125.

The Trio choose quick tempos and clipped phrases in the opening movement, eschewing extended ritards and the voice leading one hears in recordings of Arensky by Russian musicians. It’s Tchaikovsky influenced a bit by Schumann. A surprisingly movement ending accelerandowas played swiftly and vigorously. In the lyrical second movement pianist Marilyn Thompson played the opening expressive theme and throughout the music from 1905 is achingly rich, but even here in opulent thematic voices traded between violinist Victor Romasevich and cellist Jill Rachuy Brindel one hoped for a little more loosening of tempo. Mr. Romasevich held one high note at the end of an ascending phrase with just the right character of suspense and bright tone.

A Scherzo comprises a wonderful trio in a waltz form, and the concluding “Tema con Variazioni” with a big cello part portraying music that is less exalted than the preceding movements. It’s episodic until the return of the first-movement’s dark theme, and the Navarro played it with conviction. Brahms’ last movements are always imposing; Arensky’s are less so.

Before intermission the Navarro played trios by Haydn (B Flat Major, Hob XV:20) and the venerable Dvorak E Minor (“Dumky”). Haydn wrote more than 40 piano trios, and in most the cello supports the violin’s stating principal themes. It was this way in the first two movements with Mr. Romasevich’s light vibrato and a simple and long introductory line from Ms. Thompson in the Andante Cantabile. At times this Trio sounded like an accompanied piano solo, brisk and and pungent.

Dvorak’s famous Dumky has often been played by the Navarro, but with violinist Roy Malan. It’s a masterful work of vitality and infectious Czech rhythmic power in six alternating dumka of festive gaiety and yearning, though alike in character. The Navarro performed the demanding rhythm patterns with seasoned artistry. A highlight was the lovely recitative in the Poco Adagio sounding with Ms. Brindel’s plaintive cello melody, and the Cantilena in the piano part. In the fourth dumka again the cello carried a melancholy theme over the bass lines of piano and violin, and this created a sense of warm calm.

The final dumka (Lento) had the Navarro playing up the disparity of a grave pathetic theme with a wild quick section, and Ms. Brindel as earlier had prominence with her assured cello technique.

The repertoire selection and performance gave me no reason to change a decade-long view that the Navarro is the best resident piano trio in Northern California.