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Chamber
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 08, 2020
From the first richly layered harmonies of Dvořák’s Cypresses, the Aizuri Quartet held the March 8th audience at Mt. Tamalpais Methodist Church in thrall. The church was more than half full, a good crowd considering present anxiety about the spread of the coronavirus. Taking precautions, the M...
Choral and Vocal
COLORFUL BORN BACH AT AGAVE BAROQUE'S SCHROEDER HALL CONCERT
by Sonia Morse Tubridy
Friday, February 28, 2020
Bach’s obituary records that “Johann Sebastian Bach belongs to a family that seems to have received a love and aptitude for music as a gift of Nature to all its members in common.” Agave Baroque presented their Feb. 28 concert, Born Bach, as a partial musical story of several generations in this rem...
Chamber
ECLECTIC VIOLIN AND PIANO WORKS IN VIRTUOSIC MILL VALLEY RECITAL
by Abby Wasserman
Sunday, February 23, 2020
Blending virtuosity with sublime artistry, violinist Alexander Sitkovetsky and pianist Wu Qian gave the Mill Valley Chamber Music Society audience many thrills February 23, performing four muscular and soulful works by four composers from four countries: de Falla, Schumann, Stravinsky, and Grieg. T...
Chamber
PREMIER OF KAIZEN AND DRAMATIC MOZART HIGHLIGHT ECHO CHAMBER CONCERT
by Abby Wasserman
Sunday, February 16, 2020
As concertgoers took their seats in San Anselmo’s First Presbyterian Church for ECHO Chamber Orchestra’s February 16 program, they were surprised to see at center stage two bass drums, a tom-tom, bongos, high hat and cymbals. It was the occasion of the world premiere of "Kaizen," composed and perf...
Chamber
BEETHOVEN'S VALENTINE'S DAY GIFT IN RAC SEBASTOPOL RECITAL
by Terry McNeill
Friday, February 14, 2020
Continuing a season of Redwood Arts Council successes, the Kouzov Duo performed an eclectic Valentine’s Day concert in Sebastopol’s Community Church before an audience of 125. Beethoven’s charming Op. 66 Variations on Mozart’s “Ein Mädchen oder Weibchen” from the opera the Magic Flute was a bouncy ...
LUSH BACH PERFORMANCE IN DENK'S WEILL HALL RECITAL
by Terry McNeill
Thursday, February 13, 2020
Memorable artistic interpretations of musical masterpieces are often at extremes, and with the Bach’s Well-Tempered Clavier (WTC - Book I) that Jeremy Denk played in Weill Hall Feb. 13, the pianist was only sporadically at unique or ebullient musical ends. But his playing wasn’t exactly at opposite...
BROWNE, PAREMSKI HEAD STELLAR CAST AT SANTA ROSA SYMPHONY CONCERT
by Steve Osborn
Sunday, February 09, 2020
The Feb. 9 performance by the Santa Rosa Symphony offered a healthy dose of 21st century music firmly bound to the 19th. Matt Browne’s first symphony, “The Course of Empire”—based on a series of five paintings by Thomas Cole, who founded the Hudson River School of American painting in the 1820s—emp...
FRENCH ORCHESTRAL MUSIC A FIRST FOR THE SO CO PHILHARMONIC
by Terry McNeill
Sunday, February 02, 2020
Over many years the Sonoma County Philharmonic has played little French music, but perhaps this oversight was corrected Feb. 2 in a splendid all-Gallic program Feb. 1 and 2 in the Jackson Theater. Classical Sonoma reviewed the Sunday afternoon concert. In his eighth conducting season with the So C...
Symphony
POLISH MUSICAL WORLDS GLOW BRIGHT IN NFM WROCLAW WEILL PERFORMANCE
by Sonia Morse Tubridy
Saturday, February 01, 2020
The NFM Wroclaw Philharmonic, with conductor Giancarlo Guerrero, gave a concert of enormous energy and emotional impact on Feb.1 to a small audience in Weill Hall. This orchestra has been a major cultural force in Poland since 1949, playing under many renowned conductors and has been committed to pr...
Opera
EXTRAVAGANT ARIAS IN NEXT GENERATION TENORS GALA VALLEJO CONCERT
by Mark Kratz
Saturday, February 01, 2020
“Beautiful, strange, and unnatural…” said orchestra conductor Thomas Conlin when speaking of the tenor voice. One of the coveted voice types of the opera world, the tenor voice is known for it’s piercing tones and soaring, unnatural high notes. The iconic image of the Pagliacci clown (in the famed...
CHAMBER REVIEW
Sonoma State University Department of Music / Sunday, February 17, 2019
Trio Navarro. Marilyn Thompson, piano; Victor Romasevich, violin; Jill Rachuy Brindel, cello

Trio Navarro Feb. 17: V. Romasevich, M. Thompson, J. Brindel

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 Arensky, but the second from each composer, the C Minor (Op. 66) and F Minor (Op. 73), respectively.

But first came Haydn’s B-Flat Major Trio (Hob. XV:20), a short effervescent work that puts the lie to the contention that Haydn’s piano trios are accompanied solos. The opening allegro rustled along, bucolic and never demanding, contrasting pianist Marilyn Thompson’s long introduction to the andante with cellist Jill Rachuy Brindel and violinist Victor Romasevich playing variations. Mr. Romasevich played a lovely solo in the concluding finale.

The appetizer over, the Mendelssohn began with a wet, rich agitated string sound and a more leisurely tempo than expected with half-pedaled piano runs supporting a fine ensemble. The allegro energetico’s big false cadence before the end moved into a rush to the finish, an easy contrast to the lovely andante movement. Here Mr. Romasevich built many small climaxes in a romantic mix, all concluding with two shimmering pianissimo chords.

Mendelssohn writes scherzos like no other, and this five-minute movement was played in a pulsating rhythm with many repeated motifs and spiccato bow technique and humor. The Navarro again chose in the concluding allegro appassionato a tempo that was not racehorse, though surges of joy and vigor were everywhere, as was a hint of tragedy (but just a hint) in this virtuoso performance.

Following intermission I moved from the back of the hall to the second row, as piano legato is blurred way back in Schroeder, and much clearer up front with of course increased violin and cello volume. The more husky sound was welcome in the Arensky, a work from 1905 that has copious references to Chopin and especially Schumann. A quick tempo and meandering themes characterized the first movement, luxuriously harmonic but sharply different from contemporary Russians Tchaikovsky and Rubinstein, and the beguiling slow pace of the gold standard Borodin Trio’s recording from 1990. The accelerando at the end was explosive.

In the heart-on-sleeve romance the Navarro eschewed much rubati and kept the music from ever becoming cloying. A hard thing to do, given Ms. Brindel’s lovely ascending cello lines weaving about Mr. Romasevich’s elegant high register playing, and Ms. Thompson’s sensuous opening piano solo. The scherzo was dominated by both strings pizzicato that related to a waltz tune, with Ms. Thompson taking up rippling arpeggios in support.

Playing in the virtuosic closing variations (6) was at times in dance forms, nostalgic, and then busting out with fast scale playing and increased sonorities. Nothing was held back in this stirring performance where each variation had an individual character, with sprightly turns in the third and fifth. The Trio deftly played the surprising return of the first movement’s main theme with a subtle and slight change, making the composition’s quiet close all the more effective.