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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...
Recital
PUNGENT WALTZES AND VIRTUOSITY IN LADEUR'S SLV RECITAL
by Terry McNeill
Wednesday, July 17, 2019
San Francisco based pianist Jeffrey LaDeur has become one of the most sought-after North Bay virtuosi, and cemented that reputation July 17 in a short but eclectic recital in Santa Rosa’s Spring Lake Village Chamber Music Series. Before 140 in the Village’s auditorium Mr. LaDeur began with Schubert...
Choral and Vocal
NOBLE BRAHMS REQUIEM PERFORMANCE CLOSES SONOMA BACH'S SEASON
by Pamela Hicks Gailey
Saturday, June 01, 2019
Sonoma Bach, conducted by Robert Worth, presented a truly grand finale to their 2018-19 "Light Out of Darkness" season in two sold out Schroeder Hall performances June 1 and 2. The program "A Human Requiem" was received rapturously with a well-deserved standing ovation for the main work, Brahms' ...
Chamber
THREE SONG CYCLES HIGHLIGHT VIBRANT SLV RECITAL
by Pamela Hicks-Gailey
Wednesday, May 08, 2019
An ambitious recital of vocal and piano music was presented May 8 at Santa Rosa’s Spring Lake Village by mezzo-soprano Kindra Scharich and pianist Jeffrey LaDeur. The duo engaged the enthusiastic audience with scholarly friendliness and artistry in performances of Beethoven's short cycle of six song...
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.