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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
KODALY DUO TRUMPS POPULAR MENDELSSOHN TRIO AT SLV CONCERT
by Terry McNeill
Wednesday, June 21, 2017
It’s not really a secret, but Sonoma County’s best chamber music series is one without much notoriety or publicity. The concerts at Santa Rosa’s Spring Lake Village programs are only for residents and a few invited guests. Impresario Robert Hayden years ago honed his producer skills as founder of ...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilman’s ravishing Mozart performance at last summer’s Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Symphony
SOVIETS INVADE WEILL HALL, TAKE NO PRISONERS
by Steve Osborn
Sunday, May 07, 2017
Bruno Ferrandis may be French, but he excels in Soviet repertoire. His Slavonic expertise was more than amply demonstrated at the Santa Rosa Symphony’s May 7 concert, where the program began joyfully with Khachaturian’s ballet suite from “Masquerade,” surged forward with Prokofiev’s second violin co...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bach’s E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hall’s wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Chamber
NOTES AND BARS DO NOT A PRISON MAKE
by Nicki Bell
Saturday, April 29, 2017
The Hermitage Piano Trio brought exuberant musicality and sumptuous sound to a packed house April 29 in Occidental's Performing Arts Center for the last concert in the Redwood Arts Council’s 37th season. With a wide interpretive range--from lush to delicate to passionate--these three young Russian v...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the “Angry Birds” game application likely suffered an auditory flashback during the opening measures of the allegro from Bartok’s Suite, Op. 14, the opening work in Yefim Bronfman’s April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Symphony
HULKING MAHLER "TITAN" AT SO CO PHIL'S SEASON FINALE
by Terry McNeill
Saturday, April 08, 2017
A composer’s first symphony rarely gives a clear indication of what beautiful complexities will follow over the years. Early Mozart and Tchaikovsky are examples, and the big exceptions to this axiom are the “firsts” of Beethoven, Shostakovich and Mahler. Tackling Mahler ‘s D Major Symphony (No. 1,...
Symphony
SANTA ROSA SYMPHONY STAYS CLOSE TO HOME
by Steve Osborn
Sunday, March 26, 2017
Santa Rosa Symphony concerts usually feature high-powered soloists imported from afar, but for their recent “Bring on the Strings” concert set, they stuck close to home, thrusting their principal violin, viola and cello into the limelight. The violinist (Joseph Edelberg) and the violist (Elizabeth P...
RECITAL REVIEW
Dominican University of California Guest Concert Series / Sunday, November 09, 2014
Kevin Kenner, piano

Pianist Kevin Kenner

ROBUST PLAYING IN KENNER'S ANGELICO HALL DEBUT RECITAL

by Terry McNeill
Sunday, November 09, 2014

Europe-based Kevin Kenner chose a husky program for his Marin debut recital Nov. 9 in Dominican University’s Angelico Hall, and elected three masterpieces from the Romantic piano literature.

Schubert’s C Major “Wanderer” Fantasy has nearly disappeared from recital programs, but it was a deft opening selection. It’s a work of momentum and drama throughout, and Mr. Kenner surprisingly was in no hurry in most of the earlier sections, using lots of damper pedal and emphasizing rumbling left-hand phrases. This changed just before the beginning of the fugue, when the playing had a faster tempo and moved to a grandiose, orchestral style. In the accelerando leading to the last part, the music almost went off the rails, but Mr. Kenner’s octave technique never failed him.

Liszt’s Ballade in B Minor followed, a work not popular with audiences but widely loved by pianists. Mr. Kenner played it well, with the requisite rhetoric and imagination. His pedaling sustained chords while the always moving accompaniment was clear, and Liszt’s novel harmonies (for 1853) were underscored. Mr. Kenner doubled some bass chords that used the house piano’s extra notes below the normal bottom “a”, creating a rich resonance. It was a compelling performance in the grand manner and the highlight of the afternoon.

Chopin’s Preludes from Op. 28 comprised the entire second half and here again the artist favored slower tempos, notwithstanding the fleet Preludes in G (No. 3) and B Flat (No. 16). The playing was most persuasive in the pieces that needed his sensitive touch and phrases of melancholy and even lassitude.

Mr. Kenner’s view of these 24 short gems is a modern one, meaning there is a focus on control and internal architecture and the absence of voice leading, generous rubatos and the vocal nature of Chopin’s genius. Some of the lyrical Preludes (Nos. 9, 11, 13, 17 and 19) were played with a lovely tone but lacked the poetic repose and grace possessed by the greatest Chopin pianists. The massive and majestic C Minor Prelude (No. 20) had just the right restlessness, finally dissolving to a tranquil calm.

Completing the program was the angry and defiant Prelude in D, and the pianist’s left-hand rotational command was impressive. The damper pedal was held through the final triumphant and hugely resonant D’s.

The audience of 100 demanded an encore and the pianist complied with a coarse and overly loud performance of Paderewski’s sparkling salon piece, the Caprice à la Scarlatti, Op. 14, No. 3.