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Symphony
SONIC SPLASH AND ENSEMBLE DELICACY AT SO CO PHIL CONCERT
by Terry McNeill
Saturday, November 18, 2017
Franck’s wonderful D Minor Symphony is a rarity on today’s concert programs, and I can’t remember a North Bay performance in many years from any of the six resident area orchestras. So it was good to see the Sonoma County Philharmonic feature it in their Nov. 18 and 19 concerts at Santa Rosa High S...
Chamber
TETZLAFF QUARTET'S MASTERY IN MOZART AND SCHUBERT
by Terry McNeill
Saturday, November 11, 2017
German violin virtuoso Christian Tetzlaff presented a critically successful Weill Hall recital Feb. 18, and returned to the same venue Nov. 11 with his admirable Tetzlaff Quartet in a program of Berg, Schubert and Mozart. Clarity of ensemble has always been a hallmark of this Quartet, and contrapun...
Chamber
RAVISHING SHORT OPERAS FROM FRENCH TROUPE IN WEILL
by Terry McNeill
Friday, November 10, 2017
Standard Weill Hall fall and winter classical programs are pretty routine – symphonic music, chamber, solo recitals – so it was a rare treat Nov. 10 when just two works from the 17th century were gloriously presented. With such specialized compositions, period performers with commanding authenticit...
Symphony
MEI-ANN CHEN PROVES A WORTHY CONTENDER FOR SANTA ROSA SYMPHONY CONDUCTING POST
by Steve Osborn
Sunday, November 05, 2017
These days the focus of Santa Rosa Symphony concerts is as much on the conductor candidates as on the soloists. This past weekend’s concerts featured the second of those candidates, Mei-Ann Chen, along with pianist Nareh Arghamanyan, each of whom cut an imposing figure on the stage. Chen is diminut...
Symphony
TO RUSSIA WITH BRILLIANCE
by Terry McNeill
Friday, November 03, 2017
Russian pianist Denis Matsuev’s high velocity and frequently slam-bang virtuosity came to the Green Music Center last year with a thrilling and equally perplexing solo performance. So many in Weill Nov. 3 were interested to hear if his pianistic style would mesh well in a concerto, and with a fine ...
Symphony
THUNDEROUS TCHAIKOVSKY FOURTH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Tuesday, October 31, 2017
North Coast weather is turning cool and the nights longer, ideal for Tchaikovsky’s big boned symphonies. The Santa Rosa Symphony recently programmed the Fourth (F Minor Symphony) as did the San Francisco Symphony. Norman Gamboa’s Sonoma County Philharmonic just played the Tchaikovsky First, forgoi...
Recital
RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL
by Terry McNeill
Sunday, October 29, 2017
Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne S...
Chamber
MIRÓ QUARTET AND JEFFERY KAHANE PROVIDE MUSICAL RELIEF FOR FIRE-RAVAGED SONOMA COUNTY
by Steve Osborn
Saturday, October 28, 2017
Sonoma County’s Green Music Center has stood silent but unscathed the past few weeks as the county begins to recover from the devastating fires that began on the evening of October 8, only a few hours after a Santa Rosa Symphony concert in the Music Center. Since then, concerts by the Symphony, the ...
Symphony
CONDUCTOR PLAYOFFS BEGIN IN SANTA ROSA
by Steve Osborn
Sunday, October 08, 2017
The Santa Rosa Symphony is calling 2017-18 “a choice season” because the next few months offer the audience and the symphony’s board of directors a chance to choose a new conductor from a pool of five candidates. Each candidate will lead a three-concert weekend set this fall and winter, with a final...
Recital
PIANISTIC COMMAND IN SCHROEDER RECITAL
by Lee Ormasa
Sunday, October 08, 2017
Nikolay Khozyainov’s Oct. 8 debut at the Green Music Center’s Schroeder Hall was one of those rare moments in a young artist’s career when a performance approaches perfection. From the opening notes of Beethoven’s A-Flat Major Sonata (Op. 110) through a delightful recital ending transcription, the ...
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.