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Recital
PERLMAN TRIUMPHS IN LOW TEMPERATURE SOLD OUT WEILL HALL RECITAL
by Terry McNeill
Sunday, September 15, 2019
Itzhak Perlman did a rare thing for a classical musician in his Sept. 15 recital – he sold out Weill Hall’s 1,400 seats, with 50 more on stage. Clearly the violinist has an adoring local audience that came to hear him perform with pianist Rohan De Silva in a concert of two substantial sonatas mixed...
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...
CHAMBER REVIEW

WARM-UP HAS A FEW COLD SPOTS

by Terry McNeill
Thursday, September 25, 2008

Pianist Kenn Gartner is not an artist who makes small statements. In his Aug. 31 recital with soprano Margo-Sherelle Alexander at Guerneville’s Russian River Conservatory, he produced lots of disparate sound, including enough volume to compete with the Labor Day Weekend celebrations at adjacent properties.

Produced by Conservatory Director Seth Montfort, the concert was a warm-up for Gartner and Alexander’s upcoming appearance in San Francisco’s Herbst Theater. The duo’s program, presented to a small audience, featured rarely performed music, such as Wagner’s Wesendonk Lieder, a lush set of five poems set by Wagner in 1857. At the time, he was living in Zurich and had composed “Das Rheingold” and much of “Tristan.”

The haunting “Der Engel” set the tone for the set, with Alexander’s warm lower register and wide vibrato just right for the voluptuous music. Unfortunately, Gartner was too loud throughout, swamping the vocal line in the dramatic “Stehe Still” and during the “Tristan”-like harmonies of “Im Treibhaus.” In the latter, Alexander played off the dissonances from the piano and moved to “Schmerzen” with a beginning forte of considerable power. The beauty of the concluding “Traume” was again hampered by the piano covering Alexander’s voice at the ends of phrases, the held notes at the coda not sounding. It was an odd performance, passionate yet never a convincing whole.

The conservatory’s piano is far below even modest professional standards, an inadequacy that affected Gartner’s solo performances. The first selections, a lyrical Prokofiev work and the rhythm-driven Toccata (1934) of Khachaturian, demanded brilliant playing and received it in large doses from Gartner’s powerful fingers. Even in the Toccata’s colorful mid-section, leading with a big sforszando to the ending, one could sense the pianist wrestling with the “beast” in the small grand.

In the more subdued seventh Nocturne of Chopin (Op. 27, No. 1) and especially with Respighi’s Nocturne, Gartner displayed a poetic touch missing elsewhere. The Respighi had the long line and the essence of a tone poem. There was a puzzling pause in the middle section and overemphasis in the mazurka-like ending, but the reading had heft. Respighi’s piece, arguably his best piano work, reminded one of the best current composers of nocturnes, Lowell Lieberman. Lovely playing.

Alexander then returned to sing “Porgi Amor” from “The Marriage of Figaro,” an aria from “Adriana de Lecouvreur,” and “Summertime” from “Porgy and Bess.” There was palpable tenderness in the Mozart, and Alexander’s delivery of “Summertime” reminded one of Leontyne Price. Praise can go no higher. But it was the dramatic pathos and forte ending in the aria from “Adriana” that produced Alexander’s finest singing. The low tessitura suited her voice splendidly, and with damper pedal held down, Gartner equaled the singer’s nearly orchestral sound. The audience response was effusive.

Concluding the day was a performance of Liszt’s 12th Rhapsody and encores of spirituals and “Art is Calling Me” from the 1911 musical “The Enchantress” by Victor Herbert. The Liszt work received a messy reading, Gartner catching the mercurial changes of mood and a Magyar charge to rout the enemy, but with many wrong notes, muddy textures, and overly long tremolos. He has strong hands and can mount effective interlocking octaves and two-note double-third slurs when needed, but ultimately the poor piano could not accept the pounding and the result was more bombast than even the Weimar master intended. In the Herbert, the large tempo fluctuations and the waltz character were elegantly sung.

The Alexander-Gartner duo doesn’t shy away from demanding repertoire or forceful interpretation, and the coming San Francisco concert with a better piano and brighter acoustical resonance should bring a better result.