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FROM THE NEW WORLD TO THE OLD WORLD
by Peter Lert
Saturday, June 14, 2025
Chamber
MC2 DUO RECITAL CLOSES 222'S SEASON
by Terry McNeill
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Choral and Vocal
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by Pamela Hicks Gailey
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Symphony
SRS SEASON ENDS WITH RESOUNDING TA-TA-TA-BANG
by Terry McNeill
Sunday, June 1, 2025
Symphony
YOUTHFUL VIRTUOSITY ON DISPLAY AT USO'S MAY CONCERTS
by Peter Lert
Saturday, May 17, 2025
Symphony
MYSTICAL PLANETS AND LIVELY GERSHWIN ORTIZ AT FINAL SRS CONCERT
by Peter Lert
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Symphony
VSO'S CONCERT MUSIC OF TIME, MUSIC OF PLACE
by Peter Lert
Sunday, April 27, 2025
VOCAL ELEGANCE AND FIRE AT THE 222'S RECITAL APRIL 26
by Pamela Hicks Gailey
Saturday, April 26, 2025
CANTIAMO SONOMA SINGS AN INSPIRED GOOD FRIDAY MOZART REQUIEM CONCERT
by Pamela Hicks Gailey
Friday, April 18, 2025
DRAMATIC SHOSTAKOVICH SYMPHONY CLOSES PHILHARMONIC'S 25TH SEASON
by Terry McNeill
Sunday, April 13, 2025
CHAMBER REVIEW

Trio Navarro

ACOUSTIC CLARITY AT LAST

by Terry McNeill
Sunday, August 24, 2014

After years of chamber music frustration in Sonoma State University's Ives and Weill halls, the Trio Navarro basked in acoustical clarity Aug. 24 at their debut concert in the university's new Schroeder Hall.

The acoustics in Weill before small audiences, and with lush romantic chamber music, made blurred legato piano lines the norm. In Sunday's performance of Taneyev's D Major Trio, Op. 22, all was heard clearly. Pianist Marilyn Thompson joined cellist Jill Brindel and violinist Victor Romasevich in a rewarding performance of this rarely played Russian work from 1908.

The Taneyev is not easily grasped, as it lacks the thematic unity of more popular piano trios. However, the Navarro gave it a passionate reading with emphasis on the long vocal lines and warm colors. Mr. Romasevich gave his usual intense sound to the elegant theme and variations, and the constantly surging phrases led to an exciting short and fast opening movement cadenza.

Rich music for the cello characterized the Andante. Ms. Brindel played with refinement in rubato and supplied tasteful small decrescendos. Another violin cadenza led directly to the finale where there were hints of Arensky's second piano trio from 1905.

Even in a lyrical section, Taneyev can't keep his romanticism under wraps for long, and the Navarro built potent climaxes in the concluding Allegro. Mr. Romasevich's penetrating top-end tone easily cut through the dense counterpoint and led the Trio through manifold deceptive cadences.

I find the D Major Trio difficult to get my arms around, but the fervor of Navarro's playing made a case for more familiarity.