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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, April 08, 2018
Kevin Kenner, piano

Pianist Kevin Kenner at Dominican University April 8 (AW Photo)

KENNER'S ALL POLISH RECITAL HAS PADEREWSKI RARITY

by Abby Wasserman
Sunday, April 08, 2018

Kevin Kenner’s April 8 recital at Dominican University’s Angelico Hall had been advertised as all-Chopin, but he added a detour into another seminal Polish composer-pianist, Paderewski. Several of Mr. Kenner’s teachers were Poles, he speaks Polish, and he navigated at the piano both composers’ demanding and diverse musical landscapes with virtuosity, clarity and controlled emotion.

From the spare, opening melodic line of Ballade No. 1 in G minor, through the rousing finale of the monumental B minor Sonata at recital’s end, Mr. Kenner lived in the heart and soul of this iconic music. The shifting moods of the Ballade were gloriously conveyed, and it is in turns intense, lyrical, ominous, joyful and tragic. Each section of the piece is almost a composition in itself, posing its own questions and answers, taking new paths and coming to a histrionic destination. Mr. Kenner interpreted each section with its unique colors, tempi, and motifs, and explored each thoroughly.

Following the Ballade Mr. Kenner played Paderewski’s Sonata in E Flat Major, Op. 21, composed in 1903. It is rarely programmed, and the pianist spoke to the audience to provide some background. Chopin and Paderewski both lived in a Poland partitioned by Russia, Prussia, and Austria-Hungary, and this year is the 100th anniversary of Poland regaining its independence. Paderewski, as a patriot and for a short time Polish President, was an articulate and vigorous spokesperson for independence. The divided land offered a harsh existence for the Polish people, and Mr. Kenner said it was “a land of anguish, frustration, and tragedy,” and the sonata seemed to allude all these things. He cautioned the work is “a challenge to get into, and challenging for the artist.”

The sonata has three movements. The first Allegro con fuoco is thick and insistent with fiendish difficult runs and intrusive repetitions, communicating a palpable sense of anguish and defiance. The andante second movement relieved the sense of dread, though never entirely, with lovely sonorities. The third movement, Allegro Vivace, which begins where the andante leaves off, burst out like a fearful chase with frenetic and dense keyboard runs. It then changed into a beautiful dark and rich fugue, and finally into an agitated conclusion of hopelessness. The wonder of Mr. Kenner’s performance was that even within the most intricate and rapid passages, which easily could be muddied by lack of finger staccato or too much damper pedal, he articulated the notes with crystalline clarity and brought out the the major themes.

Following intermission the audience returned for the all-Chopin second half. Mr. Kenner began with the tender, tragic Nocturne in D Flat Major, Op. 27, No. 2. Its repeating six-note figurations left hand and the poignant melodies in the right communicated yearning and a hint of melancholy. The ornaments were played delicately and the artist conveyed exquisite clarity and subtle passion. So complete was the spell he cast in the nocturne that the audience didn’t applaud, and out of that silence Mr. Kenner moved right into the F Sharp-Minor Polonaise, Op. 44. This tour-de-force with its military themes and snare drum and marching effects was beautifully performed.

Next came three mazurkas gems from Op. 63, composed in 1846. In the B Major, Mr. Kenner’s pianism evoked the gaiety of the Polish folk dance that Chopin observed in his youth—the twirling women’s skirts, pungent rhythms and the whirling of the dancers. The short 56-measure F Minor was slower, played with touching simplicity. The No. 3 in C Sharp Minor flowed with beguiling inner voices. Mr. Kenner’s touch throughout the three miniatures was silky.

The great third Sonata, Op. 58 (from 1844), closed the program and well illustrated the sensitivity and skill with which Mr. Kenner interprets this composer. There’s so much to explore in its shifting rhythms, tonalities and moods. The work is divided into four movements, and the opening allegro maestro is introspective with dotted rhythms and lyrical almost operatic song, and ends dramatically. The second movement (scherzo: molto vivace) is by turns nostalgic and potent in left-hand chords. The reflective largo third movement, the center of the composition, held the audience in thrall. There was much of a nocturne in this movement and an elegant melodic line modulating in B and E Major. The sonata came to a triumphal finale (presto nan tanto) in dramatic B Minor opening octaves and unfolded with a relentless and potent character.

The audience showed its appreciation with a prolonged standing ovation. Afterwards the pianist attended a reception in Angelico’s lobby and spoke at length to his many admirers.