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Recital
TRANSCRIPTIONS ABOUND IN GALBRAITH'S GUITAR RECITAL
by Gary Digman
Saturday, September 14, 2019
Master guitarist Paul Galbraith’s artistry was much in evidence Sept. 14 in his Sebastopol Community Church recital. Attendees in the Redwood Arts Council events were initially bothered by the afternoon’s heat in the church, but it was of small importance when the Cambridge, England-based artist be...
Recital
ECLECTIC DRAMATIC PROGRAMING IN SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Wednesday, September 11, 2019
Marin-based pianist Laura Magnani combined piquant remarks to an audience of 100 Sept. 11 with dramatic music making in a recital at Spring Lake Village’s Montgomery Center. Ms. Magnani’s eclectic programming in past SLV recitals continued, beginning with three sonatas by her Italian compatriot Sca...
Chamber
PERFORMER AS PROMOTER: CLARA SCHUMANN AND MUSICAL SALONS CLOSE VOM FESTIVAL
by Pamela Hicks Gailey
Sunday, July 28, 2019
The July 28 closing performance of the Valley of the Moon Chamber Music Festival could have been subtitled "Friends", as it was devoted to works by both Clara and Robert Schumann, and those of their friends and protégés Brahms and virtuoso violinist Joseph Joachim, with whom Clara toured extensively...
Chamber
ROMANTIC CHAMBER WORKS HIGHLIGHT VOM FESTIVAL AT HANNA CENTER
by Sonia Morse Tubridy
Saturday, July 27, 2019
Now in its 5th season the Valley of the Moon Chamber Music Festival presented July 27 a concert titled “My Brilliant Sister,” featuring Fanny Mendelssohn Hensel’s compositions for combinations of voice, fortepiano and strings. Fanny and her brother Felix were close, and Felix occasionally published ...
Symphony
ROMANTIC DREAMS AT THE MENDOCINO MUSIC FESTIVAL
by Kayleen Asbo
Wednesday, July 24, 2019
Romanticism, contrary to many popular perceptions, wasn’t simply about diving into the habitat of the heart. Romanticism began as a literary movement that elevated the power of nature as a transcendent force and sought with keen nostalgia to rediscover the wisdom of the past. The Romantics in both l...
Chamber
CHAUSSON CONCERTO SHINES IN A VISIONARY'S SALON
by Steve Osborn
Sunday, July 21, 2019
Ernest Chausson’s four-movement Concerto in D Major for Violin, Piano, and String Quartet (1891) is neither concerto nor sonata nor symphony, but it somehow manages to be all three, especially when played with fire and conviction by an accomplished soloist. Those incendiary and emotional elements w...
Chamber
EUROPEAN SALON MUSIC CAPTIVATES AT VOM FESTIVAL CONCERT
by Pamela Hicks Gailey
Sunday, July 21, 2019
Two stunning programs of 19th and 20th century chamber music were presented on July 21 and 28 as part of the Valley of the Moon Music Festival at the Hanna Center in Sonoma. Festival founders and directors pianist Eric Zivian and cellist Tanya Tompkins were both on hand to contribute brilliantly at ...
Chamber
ECLECTIC INSTRUMENTAL COMBINATIONS IN VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 20, 2019
A Lovely summer afternoon in Sonoma Valley, an excellent small concert hall, enthusiastic audience, exciting musicians and creative programming with interesting story lines. All these were combined July 20 at a Valley of the Moon Festival concert titled “An Italian in Paris.” This is the fifth seaso...
Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festival’s 33 seasons a single evening is given over to a staged opera, with bare bones sets, lighting, costumes, minimal cast and short length. No Wagner or Verdi here, no multiple acts and complicated production demands. Light and frothy are the usual, and so it wa...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
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.