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Chamber
UNEXPECTED ARENSKY AND MENDELSSOHN BY THE NAVARRO
by Terry McNeill
Sunday, February 17, 2019
The 100 people entering Schroeder Hall Feb. 17 for a Trio Navarro concert were handed a program that appeared to feature two popular piano trios, Mendelssohn and Arensky. But continuing the Navarro’s tradition of repertoire exploration, the pieces were not the usual first Mendelssohn and first Aren...
Symphony
MENDELSSOHN'S SCOTTISH SAVES THE EVENING IN SRS WEILL CONCERT
by Terry McNeill
Monday, February 11, 2019
The audience entering Weill Hall for Santa Rosa Symphony concerts Feb. 9-11 were presented with a program that on first glance appeared a curious patchwork – a great symphony mixed with a seldom heard concerto and two disparate overtures, and a guest conductor unknown locally. Monday night’s concer...
Recital
INTRIGUING BELL-HAYWOOD RECITAL BEFORE FULL HOUSE IN WEILL HALL
by Abby Wasserman
Friday, February 08, 2019
A big portion of the capacity audience in Weill Hall February 8th came to hear violinist Joshua Bell’s virtuosity, and were treated as well to splendid playing from Sam Haywood, Mr. Bell’s regular pianist since 2010. The duo performed three engaging sonatas, highlighted by Mr. Bell’s sterling techn...
Symphony
TRIPLE PLAY UKIAH SYMPHONY CONCERT AND TCHAIKOVSKY SERENADE
by Terry McNeill
Sunday, January 27, 2019
Over the years the Ukiah Symphony’s concerts have been in the Classical Sonoma Calendar sections, but rarely has this Orchestra, now in its 39th season, had a full winter season concert review. The provocative Jan. 27 program in Mendocino College’s Center Theater seemed a good reason to reacquaint ...
Symphony
JACKSON THEATER WELCOMES A NEW RESIDENT ORCHESTRA
by Terry McNeill
Saturday, January 26, 2019
Moving to a permanent new performance venue can be a perilous undertaking for an orchestra, with different acoustics, the loyal audience finding the new spot and infrastructure challenges of lighting and lobby and backstage operations. In their first concert Jan. 26 in Windsor’s Jackson Theater the...
Symphony
ECLECTIC PASSIONATE PROGRAMMING AT MARIN SYMPHONY CONCERT
by Abby Wasserman
Saturday, January 26, 2019
The Marin Symphony’s second Masterworks concert of the 2018-19 season featured works by John Adams, Sibelius and Brahms, a masterful assembly. In a spoken introduction before the program’s first half, conductor Alasdair Neale primed the audience for the “terra incognita” of Adams’ The Chairman Dance...
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...
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.