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SIX GUITARISTS IN UNIQUE NAPA RECITAL
by Gary Digman
Sunday, July 25, 2021
The first Napa Valley Guitar Festival was held at Napa’s First Presbyterian Church July 25, and featured performances from six classical guitarists. The Church is an iconic structure in downtown Napa, its huge white presence dominating the scene, and the white theme continues inside punctuated by be
Chamber
CLARA SCHUMANN TRIO COMMANDS VOM CHAMBER MUSIC CONCERT AT HANNA
by Terry McNeill
Saturday, July 24, 2021
The Valley of the Moon Chamber Music Series has begun several virtual and a few live concerts in its new seventh season, some broadcast from Sonoma’s Hanna Center Hall and some in posh local venues. July 24’s video had a small live audience and a well-produced video program of three works. Titled “
Chamber
EXEMPLARY QUARTET PLAYING IN MENDO FESTIVAL FT. BRAGG CONCERT
by Terry McNeill
Wednesday, July 21, 2021
Faced with the impossibility of presenting concerts in the iconic large white tent on the bluff, the Mendocino Music Festival opted to use Ft. Bragg’s Cotton Auditorium for ten events in the abbreviated 35th season. San Francisco’s Alexander String Quartet played July 21 to a fully masked audience
Chamber
ECLECTIC PROGRAMMING AT PIANOSONOMA CONCERT IN SCHROEDER HALL
by Pamela Hicks Gailey
Tuesday, July 20, 2021
After a dark year bereft of live performance, pianoSonoma launched July 20 the first Vino & Vibrato concert of the 2021 season in Sonoma State's Schroeder Hall, albeit sadly senza vino due to Covid protocols. Three exceptional musicians showered the audience with an interesting variety of pia
Chamber
RARELY-PLAYED SCHUMANN HIGHLIGHTS HEALDSBURG RECITAL
by Terry McNeill
Saturday, July 10, 2021
Brave New Music sporadically produces concerts in and around Healdsburg, and July 10’s violin recital in downtown St. Paul’s Church must have been one of the first post-lockdown, post-be-extra-careful classical music concerts in Sonoma County's summer season. New Music Founder Gary McLaughlin with
Chamber
ECHOS ON A WARM SUMMER NIGHT
by Abby Wasserman
Saturday, July 10, 2021
ECHO Chamber Orchestra’s first concert in a year and a half, “A Musical Promenade,” was a promenade indeed. When patrons arrived at San Anselmo’s First Presbyterian Church for the 6:00 performance July 10, they were funneled through the garden to the Duncan Hall patio, where folding chairs were set
Chamber
LONG DISTANCE LOVE BEGINS VOM SUMMER FESTIVAL
by Pamela Hicks Gailey
Thursday, June 24, 2021
The Valley of the Moon Music Festival offered a 7th season preview June 24 with a stunning online concert, aptly named Long Distance Love, featuring inspired performances of Beethoven's short song cycle An die ferne Geliebte,, and selections from Brahms’ beloved Liebeslieder Wal
Recital
ROMERO'S ARTISTRY IN SLV RECITAL PROGRAMMING AND PERFORMANCE
by Terry McNeill
Wednesday, June 2, 2021
Gustavo Romero has been an admired visitor to North Bay stages, playing over a decade recitals at Dominican University, the Music at Oakmont concerts and at the Spring Lake Village Concert Series. He returned June 2 to SLV in a virtual recital, videoed from his home concert hall the University of N
RUBICON'S VIRTUAL CONCERT A MALANGE OF CONTRASTS
by Terry McNeill
Sunday, May 16, 2021
The inaugural concert of a new Mendocino County chamber group is a reason for celebration, and the Rubicon Trio made the most of a mixed musical menu during a May16 virtual concert. Presented by the Ukiah Symphony Orchestra as the last in their “Salons with the Symphony” Series, the Rubicon began w
Recital
PIANO VIRTUOSITY IN YAKUSHEV'S REDWOOD ARTS RECITAL
by Nicki Bell
Sunday, May 16, 2021
Russian pianist Ilya Yakushev’s recital for the Redwood Arts Council was perhaps the local season’s virtual music at the greatest distance, as the filming May 16 came from a church in St. Petersburg. And good filming it was, with multiple camera viewpoints of the church, full and split screens and
CHAMBER REVIEW

WARM-UP HAS A FEW COLD SPOTS

by Terry McNeill
Thursday, September 25, 2008

Pianist Kenn Gartner is not an artist who makes small statements. In his Aug. 31 recital with soprano Margo-Sherelle Alexander at Guerneville’s Russian River Conservatory, he produced lots of disparate sound, including enough volume to compete with the Labor Day Weekend celebrations at adjacent properties.

Produced by Conservatory Director Seth Montfort, the concert was a warm-up for Gartner and Alexander’s upcoming appearance in San Francisco’s Herbst Theater. The duo’s program, presented to a small audience, featured rarely performed music, such as Wagner’s Wesendonk Lieder, a lush set of five poems set by Wagner in 1857. At the time, he was living in Zurich and had composed “Das Rheingold” and much of “Tristan.”

The haunting “Der Engel” set the tone for the set, with Alexander’s warm lower register and wide vibrato just right for the voluptuous music. Unfortunately, Gartner was too loud throughout, swamping the vocal line in the dramatic “Stehe Still” and during the “Tristan”-like harmonies of “Im Treibhaus.” In the latter, Alexander played off the dissonances from the piano and moved to “Schmerzen” with a beginning forte of considerable power. The beauty of the concluding “Traume” was again hampered by the piano covering Alexander’s voice at the ends of phrases, the held notes at the coda not sounding. It was an odd performance, passionate yet never a convincing whole.

The conservatory’s piano is far below even modest professional standards, an inadequacy that affected Gartner’s solo performances. The first selections, a lyrical Prokofiev work and the rhythm-driven Toccata (1934) of Khachaturian, demanded brilliant playing and received it in large doses from Gartner’s powerful fingers. Even in the Toccata’s colorful mid-section, leading with a big sforszando to the ending, one could sense the pianist wrestling with the “beast” in the small grand.

In the more subdued seventh Nocturne of Chopin (Op. 27, No. 1) and especially with Respighi’s Nocturne, Gartner displayed a poetic touch missing elsewhere. The Respighi had the long line and the essence of a tone poem. There was a puzzling pause in the middle section and overemphasis in the mazurka-like ending, but the reading had heft. Respighi’s piece, arguably his best piano work, reminded one of the best current composers of nocturnes, Lowell Lieberman. Lovely playing.

Alexander then returned to sing “Porgi Amor” from “The Marriage of Figaro,” an aria from “Adriana de Lecouvreur,” and “Summertime” from “Porgy and Bess.” There was palpable tenderness in the Mozart, and Alexander’s delivery of “Summertime” reminded one of Leontyne Price. Praise can go no higher. But it was the dramatic pathos and forte ending in the aria from “Adriana” that produced Alexander’s finest singing. The low tessitura suited her voice splendidly, and with damper pedal held down, Gartner equaled the singer’s nearly orchestral sound. The audience response was effusive.

Concluding the day was a performance of Liszt’s 12th Rhapsody and encores of spirituals and “Art is Calling Me” from the 1911 musical “The Enchantress” by Victor Herbert. The Liszt work received a messy reading, Gartner catching the mercurial changes of mood and a Magyar charge to rout the enemy, but with many wrong notes, muddy textures, and overly long tremolos. He has strong hands and can mount effective interlocking octaves and two-note double-third slurs when needed, but ultimately the poor piano could not accept the pounding and the result was more bombast than even the Weimar master intended. In the Herbert, the large tempo fluctuations and the waltz character were elegantly sung.

The Alexander-Gartner duo doesn’t shy away from demanding repertoire or forceful interpretation, and the coming San Francisco concert with a better piano and brighter acoustical resonance should bring a better result.