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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
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 ...
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...
Chamber
CONSUMMATE ENSEMBLE FROM THE MIRÓ IN WEILL
by Sonia Tubridy and Nicki Bell
Sunday, March 05, 2017
A March 5 Weill hall audience of 350 leaned in to share an intimate musical space and to hear the Miró String Quartet’s sterling concert. Starting with Haydn's Op. 20, No. 4, the four musicians seemed to want listeners to be enveloped in their music. The Miró plays with the feat of being four dist...
Chamber
MUSIC AND ART MELD IN ZUCKERMAN TRIO CONCERT
by Nicki Bell
Friday, February 24, 2017
A Feb. 24 Weill Hall concert by the Pinchas Zuckerman Trio juxtaposed formidable music making with palpable associations about visual art. Brahms’ C Minor "Sonatensatz” (Scherzo) is a short youthful work for violin and piano, and was an opening call to action. Lively and vigorous playing alternated...
Chamber
THREE BEETHOVEN TRIOS BEGUILE AUDIENCE IN FEB. 19 WEILL CONCERT
by Terry McNeill
Sunday, February 19, 2017
Chamber music concerts featuring one composer can be tricky, but the Han/Setzer/Finckel trio made a Feb. 19 Weill Hall audience of 500 hear and to a degree see the boundless creativity of Beethoven. The G Major Trio, Op. 1, No. 2, opened the afternoon’s Beethoven odyssey and one wonders why it is t...
Chamber
AUTHORITATIVE BARTOK HIGHLIGHTS TETZLAFF VIOLIN RECITAL
by Terry McNeill
Saturday, February 18, 2017
Christian Tetzlaff’s Feb. 18 violin recital rolled along with lively and fresh readings of Mozart, Beethoven and Schubert when the specter of Bartok’s granitic Second Sonata intervened. The sonic shock to the audience of 250 in Weill was palpable. Composed in 1923 the 20-minute two-movement work i...
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.