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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
Sonoma State University Department of Music / Sunday, October 23, 2016
Trio Navarro and Friends. Kathleen Reynolds, flute; Jill Rachuy Brindel, cello; Roy Zajac, clarinet; Marilyn Thompson, piano

(L to R) J. Brindel, K. Reynolds, M. Thompson and R. Zajac Oct. 23

TASTY TRIO NAVARRO CONCERT WITH SRS WIND VIRTUOSI

by Terry McNeill
Sunday, October 23, 2016

SSU’s resident Trio Navarro has a long history of presenting diverse programs in the piano trio format, with occasional out-of-area artists joining the mix. This familiar configuration was altered in an Oct. 23 Schroeder Hall concert with the deletion of the violin part and the addition of two sterling local wind players.

The “newbies” jumped right in with pianist Marilyn Thompson in a transcription of Fauré’s six-part Dolly Suite, Op. 56. In the opening “Berceuse” the flute (Kathleen Reynolds) and clarinet (Roy Zajac) parts carried perfectly to the audience of 125, the rich lines covering a tinckeling piano part. The balance improved in the “Mi-a-ou” and “Le Jardin de Dolly” movements, the first with a boisterous ending and the second wholly belonging to Mr. Zajac with his rendering a lovely theme taken from the same composer’s A Major Violin Sonata.

This was everywhere a fetching performance, especially in the “Tendresse” part that featured a slow and melancholic flute-clarinet interplay. The fast Chabrier-like finale (Le Pas Espagnol) was dominated by the piano part and brought the beguiling music to a chirpy end.

Trio co-founder cellist Jill Rachuy Brindel stepped out of her customary ensemble role to play Beethoven’s C Major Sonata, Op. 102, No. 1. Ms. Brindel’s performance was never forceful in power or tone, but featured a focused and lyrical sound that in the Andante-Allegro sporadically was covered in the low register by the piano. This is a piece far removed from the composer’s preceding and dramatic A Major Sonata, but some of it’s energy spilled over into the concluding Allegro Vivace. The duo’s deliberate tempo and strong accents highlighted the movement that had accurate instrumental pitch and elegant phrasing.

French composer Phillipe Gaubert, an early 20th Century colleague of flute master Georges Barrère, wrote his delectable “Trois Aquarelles” for flute, cello and piano, and the work is atmospherically French. Ms. Reynolds, principal Santa Rosa Symphony flutist, played extravagantly in the “Par un clair matin” with a rippling piano part and the cello line uncovering mild dissonances. Ms. Brindel’s vibrato widened and became richer in the “Soir d’automne” with a chaste minor-key ending.

An outdoor and waltz-like “Pipes of Pan” character was heard in the concluding “Sérénade” with Ms. Thompson’s rippling Arpeggios gently supporting the other two instruments.

Mr. Zajack, also a SRS principal, rejoined Ms. Thompson and Ms. Brindel to cap the afternoon with Nino Rota’s Trio, a 16-minute work from 1973 that is individual in ways that the composer’s 150 film scores are not. The Allegro was played percussively and in spots the pace was quite pushed. Unlike this movement, the following Andante had references to seamless film music with lush romantic themes, many slow climaxes and colorful melodies projected by Mr. Zajac and echoed by Ms. Brindel. It was some of the most choice playing of the day.

The concluding Allegrissimo was indeed light and “kittenish,” one instrument playing catch up to another with frequent tasty interjections. It’s derivative music in many ways, with touches of Milhaud and even a lighter sardonic Shostakovich, but no less enjoyable for that. The ensemble was assured and elicited and noisy ovation.