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Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the season’s final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopol’s Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Center’s Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflé’s short and intense Requiem has been heard in Santa Rosa’s Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hall’s stage March 25 and didn’t play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morgan’s artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hall’s wonderful Brombaugh organ. Mr. Morgan, Stanford University’s resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
Symphony
ORFF AND HINDEMITH SONIC SPLENDOR AT FINAL SO CO PHIL CONCERT
by Terry McNeill
Saturday, March 17, 2018
Sonoma County Philharmonic concerts are continually artistically successful but on the Santa Rosa High School’s stage the orchestra rarely numbers above 40, and in the 900-seat hall audiences can be scant. Violinists can be in short supply. An opposite scene occurred at the March 17/18 concert set...
CHAMBER REVIEW
Green Music Center / Sunday, April 08, 2018
Victor Romasevich, violin; Jill Rachuy Brindel, cello; Marilyn Thompson, piano

Trio Navarro April 8 in the Green Music Center's Schroeder Hall

TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT

by Terry McNeill
Sunday, April 08, 2018

Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trios. Well, with three masterpieces in the trio literature, one can’t quibble.

Rachmaninoff’s early G Minor Trio (“Elégiac”) that began the second half was the only work could be said to be uncommon, and the Navarro managed to convey the hothouse but at times lugubrious harmonies in an intense 13-minute span. Similar in many ways to the composer’s 1901 Cello Sonata in the same key, the playing of the Elégiac began with a shimmering non-stopped string sound from violinist Victor Romasevich and cellist Jill Rachuy Brindel. Pianist Marilyn Thompson played the big mid-piece solo forcefully, and it’s a noble theme with lots of notes, all of them good notes. Tempos were generally judicious.

Mendelssohn’s wonderful D Minor Trio, Op. 49, closed the program, and it’s arguably the most performed classical piano trio, and fits the Navarro like an old slipper. As Ms. Brindel set out the noble first theme I thought of how many times she must have played the same notes as a student, in rehearsals and in concerts. One thousand times? Five thousand? In the molto allegro Mr. Romasevich varied his phrasing in repeats, the ensemble was balanced and the D minor key potently presented. String vibrato was deft, limited at times, and wide at times.

In the lovely andante and elfin spritzy scherzo the performance was fluid, especially in the richly poetic andante where the wistful piano line leads into music refined and grateful for each of the instruments. Nothing sounded affected or outsized. The finale (allegro assai) was also impeccably fluid, but I kept listening for more piquant inner voices, as for example in interpretations where on page 41 the performer plays an ascending piano line in triplets with two jolting dissonance chords. Dissonance in Mendelssohn? Rarely from the elegant Navarro in this music, or at least not in this concert.

In a slight programming twist, the afternoon’s major work, Schubert’s B Flat Trio, D. 898, occupied the entire first half. It’s a long work, lyrical and then dramatic at turns, and the opening allegro moderato had a beautiful second theme statement by Ms. Brindel, quickly taken over by Mr. Romasevich. The playing was muscular when needed and the manifold key modulations, lots and lots of them, made the many sections sound fresh. The radiant themes played in the andante surely tugged many listeners’ heartstrings, and recalled Anton Rubinstein’s comment: “Ah, Schubert, eternal sunshine in music.” Schroeder’s stage piano has warmly voiced hammers and Ms. Thompson was everywhere attentive to her partners and their beguiling and florid string lyricism, never covering them.

Listeners looking for an interpretation of old fashioned romanticism, such as the legendary Cortot-Thibaud-Casals recordings of the Schubert and the Mendelssohn, did not find it in the Navarro’s approach. As throughout the afternoon a warm blended sound seemed their goal, with less interest paid to sharply etched instrumental lines, extended ritards or even minimal departures from the printed score.

With the chamber music season ending there is no reason to alter the long past observation that the exalted Navarro is the preeminent resident piano trio in Northern California.