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Chamber
SPARKLING WIND, STRING, HARP MUSIC AT DEVON HOUSE GARDEN CONCERT
by Abby Wasserman
Saturday, October 9, 2021
Take a mild autumn evening, a garden gazebo with patterned rugs and lit with soft bulbs, shake in a fine chamber ensemble, add a rising new moon, and you have a recipe for the musical delight that violist Elizabeth Prior presented Oct. 9 in her Devon House Garden Concert series. The Marin Terra Li
Recital
AUTHORITATIVE BEETHOVEN SONATA IN KLEIN'S OCCIDENTAL RECITAL
by Terry McNeill
Friday, October 8, 2021
People attending the first Redwood Arts Council Occidental concert in 20 months found a surprise – a luxurious new lobby attached to the Performing Arts Center. It was a welcome bonus to a recital given by pianist Andreas Klein where the music seemed almost as familiar as was the long shuttered hal
Symphony
MOVIE MUSIC ON THE WINDSOR GREEN IN SO CO PHIL SEASON OPENER
by Terry McNeill
Sunday, October 3, 2021
People approaching the Windsor Green bandstand Oct. 3 for the Sonoma County Philharmonic’s season opening concert had some cause for concern. After 18 months of silence would the all-volunteer orchestra have enough musicians for a big movie music program? After all, performers can move, retire, or
Symphony
SANTA ROSA SYMPHONY RETURNS IN TRIUMPH
by Steve Osborn
Sunday, October 3, 2021
It is often the case that a single piece or performer steals the show at a symphony concert, but at the Oct. 3 performance of the Santa Rosa Symphony, the show itself stole the show. The concert opened with a serene 1982 tone poem by Libby Larsen, followed by a masterful performance by soloist Julia
Symphony
TWO WIND SOLOISTS CHARM AT SSU ORCHESTRA CONCERT IN WEILL
by Terry McNeill
Sunday, September 26, 2021
The house of music has many rooms. That dusty adage was never truer than when Weill Hall Sept. 25 hosted a roaring New Orleans-style musical party, and less than a day later a mostly sedate Sonoma State University student orchestra performance. Before a crowd of 200 conductor Alexander Kahn led a
Other
CLEARY'S NEW ORLEANS BAND IGNITES PARTY FOR THE GREEN AT SSU
by Terry McNeill
Saturday, September 25, 2021
A dramatic and unique start to the new Green Music’s Center’ 2021-2022 season exploded in a “Party for the Green” Sept. 25, a New Orleans (NO) style commotion featuring Jon Cleary and his Absolute Monster Gentlemen band, inside and outside of Weill Hall. Beginning with a private gourmet dinner in t
GAULIST FLAVOR IN FINAL SF PIANO FESTIVAL CONCERT AT OLD FIRST
by Terry McNeill
Sunday, August 29, 2021
Final summer music festival programs are often a mix of what has come before, with the theme and even a featured composer taking a last stage appearance, with a dramatic wrap up composition. San Francisco’s International Piano Festival defied the norm August 29 with an eclectic French-flavored prog
SPARE DUO PRECEDES MYSTEROUS DUO AT DEN BOER RECITAL
by Terry McNeill
Friday, August 27, 2021
In a departure from usual summer festival fare Julia Den Boer played an August 27 virtual recital in the San Francisco Piano Festival’s 4.5 season with four works, all mostly quiet but all in separate ways insistently demanding of artist and listener. Throughout the 40 minutes there was nary a powe
HARMONIC COMPLEXITY IN PHILLIPS' ALL-GRIFFES RECITAL
by Terry McNeill
Friday, August 20, 2021
Charles Griffes’ piano music is similar to that of Busoni, Reger and even Poulenc, in that there is a sporadic flourish of interest with concerts and scholarly work, then a quick fade into another long period of obscurity. So, it was a delight to have an all-Griffes recital August 20 on the San F
Chamber
ONE PIANO, TWO PIANO, THREE PIANO, FORE
by Terry McNeill
Thursday, July 29, 2021
Schroeder Hall was nearly full July 29 for the final pianoSonoma concert of their season, and presumably the draw and highlight for many of the 150 attending was Bach’s Concerto for Four Pianos. And that performance was probably going to be a North Bay premiere. However, it wasn’t the highl
RECITAL REVIEW

Pianist Kevin Kenner

ROBUST PLAYING IN KENNER'S ANGELICO HALL DEBUT RECITAL

by Terry McNeill
Sunday, November 9, 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.