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Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Chamber
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
RECITAL REVIEW
Concerts Grand / Sunday, March 21, 2010
Kenn Gartner, Pianist

Kenn and Nora Gartner at JB Piano March 21 (E. Barcsak Photo)

GRANITIC PIANISM AT GARTNER'S SAN RAFAEL RECITAL

by Terry McNeill
Sunday, March 21, 2010

Marin pianist Kenn Gartner takes his musical life in big chunks. He has a large load of private students, conducts choral groups, is part of a South Bay opera company and composes when time permits. On Bach’s birthday, March 21, he found time to tackle a large recital program at San Rafael’s JB Piano Company as part of the Concerts Grand series. He even brought his own piano to the store’s small stage.

It was fitting to begin with Bach’s “Concerto in the Italian Style,” BWV 971, and surprisingly the left-hand chords in measures one and five were arpeggiated. This was Bach with a lot of pedal and novel mordents. Sometimes the left and right hands were not together but the concluding presto was played with fire and more than the usual clarity. Mr. Gartner substituted Haydn’s brief Sonata in E Minor, Hob. XVI/34, for the programmed “Waldstein” Sonata of Beethoven, and in the opening presto he hit his stride with smooth scale playing and never seemed to be in a hurry. The finale began attacca as the composer intended, and though not a flawless reading, the performance had trim trills (all on the g note) and caught the humor of the piece.

Not to be deterred, the pianist decided from the stage to play the opening movement of the “Waldstein” (Sonata in C Major, Op. 53). Here the scale passages were not especially clear, and sections tended to run together. The right-hand skips were played accurately and the performance had a touch of the raucous patina that is part of this virtuosic piece, and the pianist made little change in tempo when the E Major second subject appeared. Though Mr. Gartner was sporadically taxed by the movement’s technical demands, he has incisive structural analysis and brings out counterpoint effectively.

Following intermission the powerful Brahms’ Rhapsodies of Op. 79 were played. Here Mr. Gartner was looking for inner voices and sharp contrasts, and these were most evident in the granitic B Minor Rhapsody. The G Minor was well played, the only intrusion in the momentum being several pauses and many ritards at the end of phrases. He is clearly a pianist for mountains peaks rather than flowery meadows.

Ravel’s “Miroirs” came next, a wonderful five-part exploration of impressionistic sound. Most memorable were the washes of rich color in Une barque sur l’ocean, the jazz-like rhythms from Alborado del Gracioso and the La vallée des cloches with its sonorous slow chords and pedal point.

Concluding the recital before 105 people was Liszt’s 10th Rhapsody in E Major, from the set of 15 published in 1853. Playing without score for the first time during the afternoon, Mr. Gartner launched into the fast scales and top-end trills with abandon, sacrificing subtlety for projection. In under six minutes, the piece shimmered with insouciant glissandi and brisk chords bordering on the comic. But it’s that kind of crowd-pleasing work and Mr. Gartner made the best of it.

Providing the most lyrical playing of the day, the pianist chose Respighi’s Notturno as an encore. The flowing melody over a gently lapping accompaniment was shaped in masterful fashion to a hushed and captivated audience.

The reviewer is the producer of Concerts Grand. Ken Iisaka contributed to the review.