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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
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.