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Chamber
EATRAVAGANT FUSION OF STYLES AT CHRIS BOTTI BAND WEILL HALL CONCERT
by Jerry Dibble
Sunday, August 12, 2018
Trumpeter Chris Botti often used to appear 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 ef...
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...
Opera
SPARKLING CIMAROSA OPERA HIGHLIGHTS MENDOCINO MUSIC FESTIVAL
by Kathryn Stewart
Friday, July 13, 2018
The Classical music era was a time of extraordinary innovation. Dominated by composers from the German-speaking countries, the period witnessed the handiwork of masterpieces by two classical giants, Haydn and Mozart. Both composers put forth a tremendous catalog of masterful works and perhaps to our...
Symphony
!PURA VIDA! A SONIC TRIUMPH FOR SO CO PHIL IN THRILLING COSTA RICA TOUR CONCERT
by Terry McNeill
Tuesday, June 19, 2018
Long anticipated events, such as a great sporting game, gourmet feast, holiday trip or a concert, occasionally fall way short of expectations. The results don’t measure to expectations. With the Sonoma County Philharmonic’s Costa Rica concert June 19, the performance exceeded any heated or tenuou...
Symphony
SO CO PHIL BON VOYAGE CONCERT AN ODYSSEY OF CONTRASTING SOUND
by Terry McNeill
Friday, June 15, 2018
In a splashy bon voyage concert June 15 the Sonoma County Philharmonic Orchestra launched its June 17-25 Costa Rica tour, performing gratis in Santa Rosa’s Jackson Theater the repertoire for tour concerts in San José, Costa Rica’s capital, and in surrounding towns. Conductor Norman Gamboa pr...
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.