Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
DEDIK'S POTENT BEETHOVEN AND CHOPIN AT SPRING LAKE VILLAGE RECITAL
by Terry McNeill
Monday, September 17, 2018
Anastasia Dedik returned Sept. 17 to the Spring Lake Village Classical Music Series in a recital that featured three familiar virtuoso works in potent interpretations. Chopin’s G Minor Ballade hasn’t been heard in Sonoma County public concerts since a long-ago Earl Wild performance, and Beethoven’s...
Recital
DUO WEST OPENS OCCIDENTAL CONCERT SEASON
by Terry McNeill
Sunday, September 09, 2018
Before a full house at the Occidental Performing Arts Center Sept. 9 the cello-piano Duo West, playing from score throughout, presented a recital that on paper looked stimulating and thoughtful. Beginning with MacDowell’s To A Wild Rose (from Woodland Sketches, Op. 51), the transcription by an unan...
Chamber
CELLO-PIANO DUO IN HUSKY SPRING LAKE VILLAGE PROGRAM
by Terry McNeill
Wednesday, September 05, 2018
Two thirds of the way through a stimulating 22-concert season the Spring Lake Village Classical Music Series Sept. 5 presented two splendid cello sonatas before 110 people in the Village’s Montgomery auditorium. A duo for more than a decade, East Bay musicians cellist Monica Scott and pianist Hadle...
Chamber
EXTRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti still performs in jazz venues including SF Jazz and The Blue Note, but now appears mostly in cavernous halls or on outdoor stages like the Sonoma State University’s Green Music Center. He brought his unique road show to the packed Weill Hall August 12 in a concert of effusive e...
Chamber
SCHUBERT "MIT SCHLAG" AT VOM FESTIVAL MORNING CONCERT
by Abby Wasserman
Sunday, July 29, 2018
The spirit of 19th century Vienna was present July 29 on the final day of the Valley of the Moon Music Festival. The Festival in the second half of July glittered with innovative programming and the new, old sound of original instruments played by musicians who love music with historic instruments. ...
Chamber
PASSIONATE BRAHMS-SCHOENBERG MUSIC CLOSES VOM FESTIVAL SUMMER
by Abby Wasserman
Sunday, July 29, 2018
An extraordinary program of chamber music by Brahms and Schoenberg attracted a capacity crowd to the Valley of the Moon Music Festival’s final concert July 29th in Sonoma’s Hanna Center. It opened with a richly expressive reading by Festival Laureate violinist Rachell Wong and pianist Jeffrey LaDeur...
Chamber
PRAGUE AND VIENNA PALACE GEMS HIGHLIGHT VOM FESTIVAL CONCERT
by Sonia Morse Tubridy
Saturday, July 28, 2018
The remarkable Valley of the Moon Chamber Music Festival presented a concert called “Kinsky Palace” July 28 on their final Festival weekend in Sonoma’s Hanna Center. Two well-known treasures and one lesser gem were programmed. Starting the afternoon offerings were violinist Monica Huggett and Fest...
Chamber
INNOVATIVE CHAMBER WORKS IN HANNA CENTER CONCERT
by Sonia Morse Tubridy
Sunday, July 22, 2018
The Valley of the Moon Music Festival presented a July 22 concert featuring three giants: Haydn, Schubert and Schumann, composers who altered music of their time with creative innovations and artistic vision. In the fourth season the Festival’s theme this year is “Vienna in Transition”, and VOM Fes...
Chamber
VIENNA INSPIRATION FOR VOM FESTIVAL PROGRAM AT HANNA CENTER
by Nicki Bell
Saturday, July 21, 2018
A music-loving audience filled Sonoma’s Hanna Center Auditorium July 21 to begin a record weekend of three concerts, produced by the Valley of the Moon Music Festival. The Festival’s theme this summer is “Venice in Transition – From the Enlightenment to the Dawn of Modernism” Prior to Saturday’s m...
Chamber
VANHAL QUARTET AT VOM FESTIVAL DISCOVERY AT HANNA CENTER
by Abby Wasserman
Sunday, July 15, 2018
A near-capacity crowd of 220 filled the Sonoma Hanna Boys Center Auditorium July 15 for the opening concert of the fourth Valley of the Moon Music Festival. This Festival presents gems of the Classical and early Romantic periods performed on instruments of the composer’s era, which presents a few ch...
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.