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Symphony
SANTA ROSA SYMPHONY PREMIERES DAUGHERTY SKETCHES OF SONOMA COUNTY
by Steve Osborn
Sunday, May 8, 2022
Chamber
BRAHMS-ERA TRIOS HIGHLIGHT OAKMONT CHAMBER CONCERT
by Nicholas Xelenis
Thursday, May 5, 2022
Chamber
CHAMBER GEMS OF BRAHMS IN TRIO NAVARRO'S SCHROEDER CONCERT
by Judy Walker
Sunday, May 1, 2022
Recital
UNIQUE ELEGANCE IN GALBRAITH GUITAR RECITAL
by Gary Digman
Friday, April 29, 2022
Symphony
VSO'S ELEGANT PASTORAL SYMPHONY SHINES IN EMPRESS RETURN
by Terry McNeill
Sunday, April 24, 2022
Choral and Vocal
A SPIRITUAL FAURE REQUIEM IN GOOD FRIDAY CANTIAMO CONCERT
by Pamela Hicks Gailey
Friday, April 15, 2022
Symphony
LUSH ORCHESTRA PLAYING IN SO CO PHIL-LLOYD MEMORIAL CONCERT
by Terry McNeill
Sunday, April 3, 2022
Chamber
DISPARATE TRIOS IN HOLLYWOOD PIANO TRIO'S 222 CONCERT
by Terry McNeill
Saturday, April 2, 2022
Chamber
TANGO IMMERSION IN MILL VALLEY CONCERT
by Abby Wasserman
Sunday, March 27, 2022
Recital
ALLURING GLASS WORKS IN WEILL RECITAL
by Terry McNeill
Friday, March 25, 2022
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.