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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
Green Music Center / Sunday, October 29, 2017
Alexi Kenney, violin; Renana Gutman, piano

Alexi Kenney and Renana Gutman Oct. 29

RESPIGHI'S PUNGENT SONATA HIGHLIGHTS KENNEY-GUTMAN RECITAL

by Terry McNeill
Sunday, October 29, 2017

Respighi’s B Minor Violin Sonata seems never to gain conventional repertoire status. Perhaps the great Heifetz recording is intimidating, and I can recall over many years just two local performances: Jason Todorov and William Corbett-Jones years go in Newman, and a titanic reading in March by Anne Sophie Mutter and Lambert Orkis.

Alexi Kenney may change the all this, as he played a scintillating performance of the 1917 work in his Schroeder debut recital Oct. 29 with pianist Renana Gutman. Concluding the concert with a big Sonata that has had little popularity was perhaps chancy, but the performance the duo delivered had the requisite big sonorities and committed drive. Throughout the pianist needs a big left hand, and Ms. Gutman’s power was ample.

In three movements, the work opened with a plangent and dramatic moderato that had somber Romanticism and deft phrasing. Mr. Kenny’s formidable technique was never an issue, though several attacks weren’t precise. Ms. Gutman was an equal partner, never covering the violin line. The andante espressivo was played more aggressively than I have heard, but never lacked beauty and telling pedal point touches in the piano. The ascending phrase up to five big chords near the end was infatuating, and garnered the mystery of the simple theme that opens and closes the movement.

Things went well in the finale (passacaglia) with Ms. Gutman’s forceful playing nearly stealing the show from the violinist. As the pace increased piano scale playing became blurred, but the momentum easily carried through the quiet middle section (rose between thorns?) and a slight wavering of violin pitch.
Mr. Gutman’s accelerated octaves before the coda were thunderous, as was the final tremolo b natural chord. A monumental reading. Loud applause followed but no encore.

Mr. Kenney began the concert with a performance of Bach’s E Major Partita (BWV 1006), with small end-of-phrase retards in the preludio that I enjoyed, but surely bothering listeners craving Baroque authenticity. The tempo was brisk but suited the music, and his short trills and double stops were elegant. In the first menuet the artist intentionally blurred the sound for effect, and in the second he never dug deep into the strings, looking for a light sound with a light bow arm. In the concluding gigue he did dig deep, with more lower register sound, but the playing was not slow, though in places it sounded slow with every repeat taken.

Schubert’s wonderful and popular C Major Fantasy (D. 934) finished the first half. Here Ms. Gutman was unable to capture the “sound from no sound” beginning though she quickly found her footing and some of her best playing in the concert. However, Mr. Kenney perfectly gauged the long opening with zero volume moving to triple piano and upwards to the beginning of bits of dance (Hungarian? Czech?) and brooding drama. The opening theme in pizzicato was perfectly sculpted, as was the return of this now subtle march like theme that came following chaste rhythmic phrases and a histrionic climax.

A virtuosic surprise was Mr. Kenney’s traversal of the demanding solo of Esa-Pekka Solonen’s Lachen Verlernt. Much of the nine-minute score is in the high register, and here Mr. Kenney’s intonation was faultless and his slow descending dissonant phrases riveting. What could pass as a series of advanced violin studies was in his hands a tour de force of sonic glamour and where the brilliant effects were never tedious or unmusical. Especially convincing were the little growls and slides in the lower register. There are subtle references to the Paganini Caprices in this 2002 work, and the instrumental prowess demanded by the composer seeming no less than the Italian virtuoso of the 19th Century.

Ms. Gutman and Mr. Kenney also performed Crumb’s Four Nocturnes (Night Music II), written in the early 1960s, and requiring the pianist to strum, mute and delicately bang on the instrument’s strings. An audience member had the score in hand, a calligraphy marvel that could be of equal interest to the performed music.

Mr. Kenney played from score all through the concert, using an electronic tablet placed on the music stand, though he only sporadically looked at it.