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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
Sonoma State University Department of Music / Sunday, November 24, 2013
Trio Navarro: Roy Malan, violin; Jill Rachuy Brindel, cello; Marilyn Thompson, piano; Nancy Ellis, viola; Victor Romasevich, violin

(l to r) Ellis, Thompson, Brindel and Romasevich Backstage in Weill

DISCOVERY ANEW FOR THE NAVARRO TRIO IN WEILL

by Terry McNeill
Sunday, November 24, 2013

A major part of the Trio Navarro’s approach to chamber music has been discovery, as over many years they have explored novel (if not new or radical) corners of the small ensemble repertoire. November 24’s concert in Weill Hall was no exception as an unfamiliar piano quartet and trio were the evening’s most intriguing offerings.

Georgy Catoire’s lively and atmospheric A Minor Quartet opened the concert, and the Trio’s Victor Romasevich (violin), cellist Jill Rachuy Brindel and Marilyn Thompson (piano) were joined by violist Nancy Ellis. A frequent past guest, Ms. Ellis seamlessly blended with her colleagues in the unique fabric of Catoire’s music. The hothouse character of the quasi Wagner and late romantic score was in the first movement constantly reminiscent of Schoenberg’s orchestrated version of the tone poem Verklärte Nacht from 1917. This is surging and sexy music.

As in recent Navarro concerts Mr. Romasevich sat in for perennial stalwart Roy Malan, and elicited a different high string sound. His tone throughout the Catoire is not as wide and vibrato-laden as from Mr. Malan, but has a penetrating quality that easily stood out from the two lower string instruments. He also didn’t take several phrase-opening notes cleanly but as the work moved into the final Allegro he was sure-footed and sonorous. The ending gave hints of Ravel’s music and the unexpected tempo acceleration brought the 1916 piece to a ringing if not loud conclusion.

Mr. Romasevich was again in the forefront of a performance of Josif Andriasov’s C Minor Trio, Op. 7, as he had been a student of the composer and is a champion of Andriasov’s music. In quirky ways the 1957 Trio was aligned with some of the Catoire Quintet harmonies, although the Trio is a darker and more compelling work. In the first Allegro movement the ensemble playing was admirable, the violin line soaring often into the highest register even during several bucolic sections. The second movement had references to Shostakovich and Mieczyslaw Weinberg and was idiomatically played, as were the slow march motives of the finale.

Both the Catoire and Andriasov works demand of the listener an acceptance of a string and piano fabric of sound rarely encountered, and might not be to everyone’s taste. I found all the music persuasive and energetically performed.

No such lack of aquaintence came with the concluding work, Schumann E-Flat Major Quartet, Op. 47. The tempos throughout the four-movement piece from 1842 were judicious and Ms. Thompson’s deft playing captured Schumann’s bittersweet melancholy. The dynamic Scherzo featured some of the best string playing of the concert, the violin notes carrying to the back of the sparsely-attended hall and Ms. Brindel’s cello line was opulent. In the Andante’s “heart on sleeve” principal theme Ms. Ellis carried on fetching duos with Ms. Brindel and Mr. Romasevich, and the slow counterpoint was beguiling. There was no rush to get anywhere and the four musicians were comfortable giving each of their colleagues a turn at voice leading.

The Vivace finale was played without undue hurry but with Ms. Thompson forging ahead several feverant climaxes were built and the Quartet’s conclusion was decisive