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Chamber
SPARKLING WIND, STRING, HARP MUSIC AT DEVON HOUSE GARDEN CONCERT
by Abby Wasserman
Saturday, October 9, 2021
Take a mild autumn evening, a garden gazebo with patterned rugs and lit with soft bulbs, shake in a fine chamber ensemble, add a rising new moon, and you have a recipe for the musical delight that violist Elizabeth Prior presented Oct. 9 in her Devon House Garden Concert series. The Marin Terra Li
Recital
AUTHORITATIVE BEETHOVEN SONATA IN KLEIN'S OCCIDENTAL RECITAL
by Terry McNeill
Friday, October 8, 2021
People attending the first Redwood Arts Council Occidental concert in 20 months found a surprise – a luxurious new lobby attached to the Performing Arts Center. It was a welcome bonus to a recital given by pianist Andreas Klein where the music seemed almost as familiar as was the long shuttered hal
Symphony
MOVIE MUSIC ON THE WINDSOR GREEN IN SO CO PHIL SEASON OPENER
by Terry McNeill
Sunday, October 3, 2021
People approaching the Windsor Green bandstand Oct. 3 for the Sonoma County Philharmonic’s season opening concert had some cause for concern. After 18 months of silence would the all-volunteer orchestra have enough musicians for a big movie music program? After all, performers can move, retire, or
Symphony
SANTA ROSA SYMPHONY RETURNS IN TRIUMPH
by Steve Osborn
Sunday, October 3, 2021
It is often the case that a single piece or performer steals the show at a symphony concert, but at the Oct. 3 performance of the Santa Rosa Symphony, the show itself stole the show. The concert opened with a serene 1982 tone poem by Libby Larsen, followed by a masterful performance by soloist Julia
Symphony
TWO WIND SOLOISTS CHARM AT SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, September 26, 2021
The house of music has many rooms. That dusty adage was never truer than when Weill Hall Sept. 25 hosted a roaring New Orleans-style musical party, and less than a day later a mostly sedate Sonoma State University student orchestra performance. Before a crowd of 200 conductor Alexander Kahn led a
Other
CLEARY'S NEW ORLEANS BAND IGNITES PARTY FOR THE GREEN AT SSU
by Terry McNeill
Saturday, September 25, 2021
A dramatic and unique start to the new Green Music’s Center’ 2021-2022 season exploded in a “Party for the Green” Sept. 25, a New Orleans (NO) style commotion featuring Jon Cleary and his Absolute Monster Gentlemen band, inside and outside of Weill Hall. Beginning with a private gourmet dinner in t
GAULIST FLAVOR IN FINAL SF PIANO FESTIVAL CONCERT AT OLD FIRST
by Terry McNeill
Sunday, August 29, 2021
Final summer music festival programs are often a mix of what has come before, with the theme and even a featured composer taking a last stage appearance, with a dramatic wrap up composition. San Francisco’s International Piano Festival defied the norm August 29 with an eclectic French-flavored prog
SPARE DUO PRECEDES MYSTEROUS DUO AT DEN BOER RECITAL
by Terry McNeill
Friday, August 27, 2021
In a departure from usual summer festival fare Julia Den Boer played an August 27 virtual recital in the San Francisco Piano Festival’s 4.5 season with four works, all mostly quiet but all in separate ways insistently demanding of artist and listener. Throughout the 40 minutes there was nary a powe
HARMONIC COMPLEXITY IN PHILLIPS' ALL-GRIFFES RECITAL
by Terry McNeill
Friday, August 20, 2021
Charles Griffes’ piano music is similar to that of Busoni, Reger and even Poulenc, in that there is a sporadic flourish of interest with concerts and scholarly work, then a quick fade into another long period of obscurity. So, it was a delight to have an all-Griffes recital August 20 on the San F
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
CHAMBER REVIEW
Trio Navarro / Sunday, February 3, 2013
Marilyn Thompson, piano; Jill Rachuy Brindel, cello; Roy Malan, violin.

Trio Navarro

FROM THE MAGISTERIAL TO THE MACABRE

by Terry McNeill
Sunday, February 3, 2013

Two more disparate chamber works could not be imagined in Weill Hall Feb. 3 when the Trio Navarro presented the Shostakovich Trio in E Minor and Dvorak’s “Dumky,” also in E minor. Both masterpieces have riveting audience interest but are worlds apart in structure and harmonic language.

Dvorak’s trio, popular since its premiere in 1891, received a committed and generous reading from the Navarro. The muddy acoustics of the Nov. 18 Schumann Quintet performance by the Navarro Chamber players had vanished, replaced by a direct Weill sound, albeit with a long reverb time due to the tiny audience. There was generous melodic interplay in the opening Lento Maestoso, and the Trio caught the nostalgia of the C-Sharp Minor Adagio. Violinist Roy Malan played here with a wide vibrato and suitable folk rhythms. His double stops at the movement’s end were luxuriant.

The lovely Andante third movement seems to be old hat to this estimable Trio, and they played with a warm sound to let the inherent lyricism shine. In the following two movements, the Trio’s insistent stress on instrumental balance, even in the swirl of dissonances (yes, dissonances in Dvorak, seconds and thirds), was exceptionally rewarding. Jill Brindel’s cello parts in the fifth movement had long sections, sans rubato, where the sound comes low on the fingerboard with unstopped strings. Pianist Marilyn Thompson played off these phrases and carried the Navarro into a magisterial finale that alternated between yearning and wild gaiety. It was a reading of stable nobility and vitality.

Following intermission, the disturbing Shostakovich Trio No. 2, Op. 67, completed the concert. Ms. Brindel played the opening disquieting cello line harmonics with ardor, though not note perfect. All through this demanding 1944 work, the frequent high tessitura of the violin and cello, contrasting with Ms. Thompson tolling deep bass notes and chords, produced a spiritual and at times menacing sonic tapestry. In many sections the Navarro underplayed the overall drama, concentrating on the relentless drive of the music. The second movement Allegro had echoes of the earlier Shostakovich Quintet in G (Op. 57). The somber orchestral piano chords in the third movement (Largo) began a slow march, almost a threnody, and Mr. Malan’s violin playing bordered on the funereal. It was a lament played with care and conviction.

The finale was portrayed by the Navarro as a macabre dance, with frequent cello and violin pizzicato, and an ethereal pianissimo conclusion. There was no thought of an encore, as the great Russian composer’s sorrowful musical outcry was moving to the degree that verbal or instrumental bonbons would be paltry fare.

On balance this was the most stirring chamber music concert I have yet heard in Weill, and there is no reason to change my nearly decade-old pronouncement that the Navarro is the finest piano trio before the public in Northern California.