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Recital
HEAVENLY SCHUBERT AND DEMONIC CHOPIN
by Terry McNeill
Saturday, April 21, 2018
One of the anomalies in the long ago ďGolden EraĒ of romantic pianism (about 1905 to 1940) is that the virtuoso giants of the time didnít play Schubert. It took the German pianist Artur Schnabel to bring the beauties of Schuberís work to the publicís attention, and now it seems to be on almost every...
Symphony
SPLENDID JUPITER AND ZOOMING CONCERTO AT VALLEJO SYMPHONY SEASON FINALE
by Terry McNeill
Sunday, April 15, 2018
Over the past two years the Vallejo Symphony has made big changes, moving from a stark middle school auditorium to the snazzy remodeled 1911-era downtown Empress Theater, and engaging Marc Taddei as its seventh conductor. April 15 was the seasonís final concert of the 86th season. In a programmin...
Chamber
VIRTUOSO CELLO AND GUITAR TRANSCRIPTIONS AT RAC SEBASTOPOL CONCERT
by Terry McNeill
Saturday, April 14, 2018
Listeners and yes even music critics usually prepare for a concert with research, checking recorded performances, looking at artist biographies and even reviewing sheet music. This was a difficult task for the April 14 Redwood Arts Council concert in Sebastopolís Community Church, as the performers...
Chamber
TRIO NAVARRO'S POPULAR FARE IN SCHROEDER HALL CONCERT
by Terry McNeill
Sunday, April 08, 2018
Long time Classical Sonoma readers may recall many Trio Navarro concert reviews that lauded their virtuosity and interest in rarely played repertoire. The April 8 concert in Schroeder Hall before 85 chamber music fans featured sterling performances but had a mostly conservative menu of popular trio...
Recital
KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY
by Abby Wasserman
Sunday, April 08, 2018
Kevin Kennerís April 8 recital at Dominican Universityís Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kennerís teachers were Poles, he speaks Polish, and he navigated at the piano both composersí deman...
Symphony
IT'S ALL ABOUT THE VOICE AT SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, April 08, 2018
In an April 8 Santa Rosa Symphony concert filled to the brim with instruments--electric violin, vibraphone, marimba, xylophone, glockenspiel, keyboard samplers, harps, piano and myriad drums, gongs and bells, to say nothing of winds, brass and strings--the instrument that came out on top was the hum...
Chamber
VOM FESTIVAL TRIO CHARMS WITH CHAMBER MIX, AND HUMMEL
by Terry McNeill
Saturday, March 31, 2018
At the core of the group of Valley of the Moon Music Festival (VOM) musicians is an ensemble of trios and duos, and as a trio March 31 Festival founders cellist Tanya Tomkins and pianist Eric Zivian joined British violinist Monica Huggett for a chamber music concert in the Green Music Centerís Schro...
Choral and Vocal
GOOD FRIDAY REQUIEM FILLS INCARNATION
by Terry McNeill
Friday, March 30, 2018
Maurice Duruflťís short and intense Requiem has been heard in Santa Rosaís Church of the Incarnation before, but the March 30 Good Friday performance was stripped down in the number of performers, combining Cantiamo Sonoma and the St. Cecilia Choir with musical underpinning from organist Robert Youn...
Symphony
HAMELIN'S HUSKY MOOD IN SCHROEDER RECITAL
by Terry McNeill
Sunday, March 25, 2018
Convention in piano recitals has the artist coming on stage and playing. Canadian pianist Charles Richard-Hamelin walked on Schroeder Hallís stage March 25 and didnít play for six minutes, chatting with the audience. A risk for some artists. Then most programs include a contemporary or rarely play...
Recital
VIRTUOSIC VARIATIONS IN MORGAN'S SCHROEDER ORGAN RECITAL
by Paul Blanchard
Sunday, March 18, 2018
Organist Robert Huw Morganís artistry spun through the web of early variation form in a Mar. 18 recital on Schroeder Hallís wonderful Brombaugh organ. Mr. Morgan, Stanford Universityís resident organist, performs a wide range of repertoire, but as he said in comments to the audience, he loves when h...
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 Marinís eclectic pianist, and his playing Nov. 18 during a short recital in Tiburonís 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 Rafaelís J-B Piano Store, but in the charming hilltop church setting his playing was more secure, expansive and engaging.

Haydnís 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 roomís 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 Bachís 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.

Lisztís 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 Chopinís 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 Respighiís 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 Virtuositť," a favorite of Horowitz and Pletnev and, in Mr. Gartner's performance, a delectable bon bon for the audience.