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Chamber
YOUNG MUSICIANS SHINE AT PIANO SONOMA CONCERT
by Lee Ormasa
Tuesday, August 01, 2017
The third in a series of four concerts by Piano Sonoma artists in residence, part of the Vino and Vibrato Series, was held August 1 in Schroeder Hall at the Green Music Center. Entitled “The Masters,” the program included works by Bach, Beethoven, Mozart and Haydn. Piano Sonoma is a summer artist-in...
Chamber
THRILLING PROGRAM CLOSES VOM CHAMBER FESTIVAL AT HANNA CENTER
by Lee Ormasa
Sunday, July 30, 2017
The finale of the two-week Valley of the Moon Music Festival closed July 30 with “The Age of Bravura” concert at the Sonoma’s Hanna Boys Center. The musical selections held to this year’s Festival theme “Schumann’s World - His Music and the Music He Loved.“ This summer Festival features chamber mus...
Chamber
PERIOD INSTRUMENTAL SOUND AT PENULTIMATE VOM FESTIVAL CONCERT
by Terry McNeill
Sunday, July 30, 2017
In the Valley of the Moon Chamber Music Festival’s penultimate concert July 30 the perennial issue of period and modern instruments was apparent. But only in the concluding Mendelssohn Trio, as the performances in the two first half works easily avoided instrumental comparisons. Clara Schumann’s t...
Chamber
ECLECTIC REPERTOIRE IN FETCHING VOM FESTIVAL CONCERT
by Terry McNeill
Saturday, July 22, 2017
One of the purposes of summer music festivals is to present unfamiliar music in an attractive and often small audience setting. The Valley of the Moon Music Festival delightfully met these requirements July 22 and 23 with two concerts in the small hall at Sonoma’s Hanna Boys Center. Classical Sono...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethoven’s Op. 27 Moonlight Sonata, Adams’ Phrygian Gates, a surprise add-on of Grieg’s Holberg Suit...
Symphony
SOARING VERDI REQUIEM CLOSES 31ST MENDOCINO FESTIVAL
by Lee Ormasa
Saturday, July 22, 2017
We speak frequently about how there is nothing like the experience of a live performance. Seldom was this truer than at the July 22 closing performance of the two-week Mendocino Music Festival. The Festival Orchestra, conducted by of Allan Pollack, joined with the Festival Chorus in a moving renderi...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhain’s recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Opera
DONIZETTI'S DON PASQUALE HAS LYRICAL CHARM IN MENDOCINO FESTIVAL PRODUCTION
by Elly Lichenstein
Friday, July 14, 2017
Mendocino Music Festival's production of Donizetti's beloved opera buffa Don Pasquale - a one-night affair July 15 that was presented in an enormous tent on a greensward overlooking the Pacific Ocean - delighted an audience of more than 600 while doing some real justice to this frothy gem of commedi...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacek’s July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
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 REVIEW
The Thursday Musical Club / Thursday, November 18, 2010
Kenn Gartner, piano

Kenn Gartner Speaks of Composer Robert Palmer Nov. 18 in Tiburon

GARTNER'S ECLECTIC PIANISM FEATURED IN TIBURON RECITAL

by Terry McNeill
Thursday, November 18, 2010

Kenn Gartner is Marin’s eclectic pianist, and his playing Nov. 18 during a short recital in Tiburon’s Community Congregational Church underscored his inquisitive musical and intellectual nature.

Sponsored by the decades-old Thursday Musical Club, the concert featured mostly familiar music of Bach, Haydn, Liszt and Chopin, but with many unconventional touches. Mr. Gartner performed most of these pieces March 21 in a recital for Concerts Grand at San Rafael’s J-B Piano Store, but in the charming hilltop church setting his playing was more secure, expansive and engaging.

Haydn’s E Minor Sonata, Hob. XVI, began the recital in an aggressive style but with surprisingly little pedal. This approach helped clarity throughout the Sonata, as the room’s acoustics were hampered throughout by muffled sound above a mezzo forte. The Adagio was characterized by arching lines in the right hand, even trills and precise block chords. The vivace molto finale again was lightly pedaled but lacked sonic differentiation and subtlety of phrase.

Mr. Gartner seemed to be aiming at harpsichord effects in Bach’s popular Concerto in the Italian Style (S. 971), a three-movement work that demands artistic individuality. The pianist provided same with small appoggiaturas, expressive arpeggios and inner voices in the left hand. He arpeggiated the last chords in the first and final movements, a welcome romantic touch, and held the middle movement penultimate chord pianissimo before deftly resolving into the single note in g. Lovely indeed.

Liszt’s Third Liebestraum, originally a song for low voice and piano, received a justly lyrical performance with a long pedal fermata at the middle, emphasizing the picturesque nature of an evanescent love dream. There were pianistic and memory problems in the performance, ultimately offset by some pearly right-hand scale passages.

American composer Robert Palmer, a teacher of Mr. Gartner, died in July at 95, and the pianist, after an emotional spoken introduction to the audience of 80, played Palmer's popular Toccata Ostinato. Room acoustics aside, the clangorous composition was presented with rhythmic power, differentiation of sound and striking left-hand chords running up and down the keyboard. The loud and curt sforzando ending caught many in hall by surprise. The dissonances and boogie-woogie style still are effective, though the piece was composed as long ago as 1945.

Chopin completed the recital, beginning with the two masterful Nocturnes from Op. 27. The C-Sharp Minor was true to the score, the piu mosso (bar 29) and agitato (measure 53) sections carefully observed. Mr. Gartner favored half pedal in the lyrical return of the modulated theme and produced a captivating ending ascending phrase and C Sharp chord. In The D-Flat Nocturne, a seminal masterpiece, the playing was frankly old fashioned with broken chords and many subtle points of rubato. Some of the right-hand runs did not sound, and in the coda the ascending chordal run in sixths was troublesome for the pianist. A rollicking reading of Chopin’s B Minor Scherzo, Op. 20, finished the formal program, the pianist throwing caution to the winds in the restless first theme and the fiery and taxing coda.

The energetic applause produced two encores, the first Respighi’s Notturno. Here Mr. Gartner emphasized the flowing melody over a gently lapping chordal accompaniment. It has become almost a signature piece for the pianist and recalled a lazy warm summer afternoon rather than the cool November breezes outside. It was followed by Moszkowski's F Major study, from the Op. 76 "Etude de Virtuosité," a favorite of Horowitz and Pletnev and, in Mr. Gartner's performance, a delectable bon bon for the audience.