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Opera
'ELIXIR' A WELCOME TONIC IN SPRIGHTLY ANNUAL MMF OPERA
by Terry McNeill
Friday, July 19, 2019
In most of the Mendocino Music Festivalís 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 Rosaís Spring Lake Village Chamber Music Series. Before 140 in the Villageís auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosaís Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
Symphony
ALEXANDER TORADZE DELIVERS A LESSON IN SERENITY
by Steve Osborn
Sunday, May 05, 2019
An entire concerto movement consisting of serene piano melodies over a soothing backdrop is probably not the first thing that springs to mind when seeing Shostakovichís name on an orchestra program, but thatís exactly what pianist Alexander Toradze delivered--twice--at Sundayís Santa Rosa Symphony c...
Symphony
MARIN SYMPHONY SEASON CLOSES WITH AUTUMNAL ELGAR AND THEATRICAL BEETHOVEN
by Abby Wasserman
Sunday, April 28, 2019
Mozartís enchanting Overture to his opera The Magic Flute, a miniature tapestry of gems from the 1791 work, opened the Marin Symphonyís final concert of the 2018-2019 season. Under conductor Alasdair Neale, the playing of the sprightly seven-minute piece by a reduced-size classical ensemble sparkled...
Recital
SHAHAM-EGUCHI DUO'S EXCITING MUSICAL GENEROSITY IN WEILL
by Abby Wasserman
Friday, April 26, 2019
Violinist Gil Shaham may be the most modest virtuoso on the concert stage today, and it is the great music he most wishes to put forward, never himself. Generosity, a quality he is known for, was abundantly clear in Weill Hall April 26 when he performed, with pianist Akira Eguchi, a generous program...
Recital
GLITTERING PIANISM IN LI'S OAKMONT RECITAL
by Terry McNeill
Thursday, April 11, 2019
Piano prodigies have always been a fascination for the music public, and the greatest of them (some were Mozart, Mendelssohn, Liszt, Saint SaŽns, Hofmann) went on to legendary fame. George Li, who made is local debut at a Music at Oakmont recital April 11, was a remarkable recent keyboard prodigy t...
Symphony
SO CO PHIL'S SEASON CLOSER WITH EXPANSIVE PROKOFIEV 5TH IN JACKSON
by Terry McNeill
Sunday, April 07, 2019
Closing their 20th season with their usual programming aplomb, the Sonoma County Philharmonic played a provocative set of concerts April 6 and 7 in the Jackson Theater, the Orchestraís new home at the Sonoma Country Day School by the Sonoma County Airport. Local composer Nolan Gasserís Sonoma Overt...
Choral and Vocal
SISTINE CHAPEL INSPIRATION FOR THE TALLIS SCHOLARS IN WEILL HALL
by Sonia Morse Tubridy
Friday, April 05, 2019
Returning to Weill Hall April 5 after a seven year absence, the ten singers of the Tallis Scholars brought the sacred choral tradition of Palestrina and his contemporaries to an audience of delighted music lovers. Under the direction of Peter Phillips, the 1973 founder of the group, the program was...
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.