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Chamber
EXAMPLARY QUARTET PLAYING IN MARIN GARDEN CONCERT
by Terry McNeill
Thursday, October 22, 2020
Taped video concerts have pretty much dominated the recent fare for classical music fans, but sporadic live music making can still be found in the North Bay with outdoor chamber music. Of course with the obligatory social distancing and often decorative facial masks. Four San Francisco Opera Orc...
Chamber
VIDEO CHAMBER MUSIC FROM LINCOLN CENTER IN GREEN'S BROADCAST
by Terry McNeill
Saturday, October 17, 2020
Along with hosting its resident the Santa Rosa Symphony, Weill Hall has contracted to produce sporadic virtual programs of classical music, and began Oct. 17 with a charming three-part concert from the Chamber Music Society of Lincoln Center in New York. Hosted with comely introductions by CMSLC di...
Symphony
THRILLING SANTA ROSA SYMPHONY PERFORMANCE IN AN EMPTY WEILL HALL
by Steve Osborn
Sunday, October 11, 2020
Viewers of the Santa Rosa Symphony’s inaugural socially distanced YouTube concert on Oct. 11 could be forgiven for thinking they had stumbled upon a performance of Verdi’s “Un Ballo in Maschera” (A Masked Ball), given that the string players in the opening shot all wore black masks. The sole excepti...
Symphony
BROWN VIDEO GALA LAUNCHES SANTA ROSA SYMPHONY SEASON
by Terry McNeill
Saturday, September 12, 2020
Similar to many North Coast musical organizations the Santa Rosa Symphony has scheduled a series of virtual concerts on video, spotlighting sections of the orchestra and the exuberant activities of its conductor Francesco Lecce-Chong. However, as an introduction to the season, a Sept. 12 gala vide...
SONGS AND ECHOES OF HOME IN AIZURI QUARTET CONCERT
by Abby Wasserman
Sunday, March 8, 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...
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...
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...
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...
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...
CHAMBER REVIEW

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.