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Symphony
SANTA ROSA SYMPHONY HERALDS THE HOLIDAYS
by Steve Osborn
Sunday, December 02, 2018
Antlers are typical headgear during the holiday season, but the ushers and one bassist at the Santa Rosa Symphony concert on Dec. 2 sported apples atop their heads. The red fruits were festive but perplexing until the orchestra began Rossini’s “William Tell” overture, at which point even the dull-wi...
Symphony
A HERO'S ODYSSEY IN SO CO PHIL CONCERT
by Art Hofmann
Sunday, November 18, 2018
The audience at the Sonoma County Philharmonic’s Nov. 18 concert was warned at the outset that the old Santa Rosa High School auditorium boiler was turned off, and there was a steady eminently audible tone in the hall. Conductor Norman Gamboa said the tone was an A, a high one. But there it was, a...
Recital
MTA BENEFIT CONCERT FEATURES FAURE, DVORAK, JANACEK AND BARBER WORKS
by Terry McNeill
Sunday, November 11, 2018
In a splendid concert Nov. 11 the Music Teachers Association of California, Sonoma County Chapter, presented their sixth annual benefit concert before 40 avid listeners in the Santa Rosa home of Helen Howard and Robert Yeats. Highlights of the performances, involving eight musicians in various perf...
Recital
SERKIN'S SINGULAR MOZART AND BACH PLAYING IN WEILL RECITAL
by Terry McNeill
Friday, November 09, 2018
Returning to Weill Hall following a fire-related recital cancellation in 2017, pianist Peter Serkin programmed just three works in his Nov. 7 concert, three masterworks that challenged both artist and audience alike. It needs to be said at the outset that Mr. Serkin takes a decidedly non-standard a...
Chamber
LUMINOUS FAURE TOPS LINCOLN TRIO'S SPRING LAKE VILLAGE CONCERT
by Terry McNeill
Wednesday, November 07, 2018
Familiarity in chamber music often evokes warm appreciation, and it was thus Nov. 7 when the Chicago-based Lincoln Piano Trio made one of their many Sonoma County appearances, this time on the Spring Lake Village Classical Music Series. Regularly presented by local impresario Robert Hayden, the Lin...
Symphony
PEACE AND LOVE FROM THE SANTA ROSA SYMPHONY
by Steve Osborn
Sunday, November 04, 2018
Before the Santa Rosa Symphony’s Nov. 4 performance of Leonard Bernstein’s “Symphonic Dances from West Side Story,” Symphony CEO Alan Silow took a moment to acknowledge the victims of the Pittsburgh synagogue attack and to observe that music offers a more peaceful and loving view of the world. Mr. ...
Chamber
ATOS TRIO IN MILL VALLEY CHAMBER CONCERT
by Abby Wasserman
Sunday, November 04, 2018
When the ATOS Piano Trio planned their all-Russian touring program at their Berlin home base, it had a strong elegiac, even tragic theme that surely resonated with their Mill Valley Chamber Music Society audience Nov. 4 in Mill Valley. Comprised of Annette von Hehn, violin; Thomas Hoppe, piano; and...
Chamber
ATOS TRIO IN OCCIDENTAL CHAMBER CONCERT
by Terry McNeill
Saturday, November 03, 2018
When the Berlin-based ATOS Piano Trio entered the cramped Occidental Performing Arts stage Nov. 3, the audience of 100 anticipated familiar works in the announced all-Russian program. What they got was a selection of rarely-plays trios, with a gamut of emotions. Then one-movement Rachmaninoff G Mi...
Symphony
MIGHTY SHOSTAKOVICH 10TH OPENS MARIN SYMPHONY SEASON
by Terry McNeill
Sunday, October 28, 2018
Just two works were on the opening program of the Marin Symphony’s 67th season Oct. 28, Tchaikovsky’s iconic D Major Violin Concerto, and Shostakovich’s Tenth Symphony. Before a full house in the Marin Center Auditorium conductor Alasdair Neale set a judicious opening tempo in the brief orchestra i...
Symphony
VIVALDI FOR ALL SEASONS IN WEILL BAROQUE CONCERT
by Sonia Morse Tubridy
Saturday, October 27, 2018
The Venice Baroque Orchestra, a dozen superb musicians that include strings, harpsichord and recorder, played an uplifting concert Oct. 27 of mostly Vivaldi sinfonias and concertos. The Weill Hall audience of 600 had rapt attention throughout, and the playing was of the highest musical level. This r...
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.