Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
MESMERIZING BACH AND CASALS IN MA'S WEILL HALL RECITAL
by Terry McNeill
Saturday, January 24, 2015
Cellist Yo Yo Ma’s warm friendship with North Coast audiences entered a new chapter Jan. 24 in a standing-room only and stage seats Weill Hall recital. Playing three Bach Suites for solo cello, Mr. Ma could have echoed the young Liszt’s famous comment, “the concert is me.” But the concert was real...
Recital
BRINGING NOTES TO SHIMMERING LIFE
by Terry McNeill
Sunday, January 18, 2015
David McCarroll and Roy Bogas opened the 2015 “Sundays at Schroeder” series at the Green Music Center Jan. 18 in a recital that featured admirable virtuosity and a provocative repertoire. They began with Mozart’s two-movement E Minor Sonata, K. 304. The work is at turns is sinister and tranquil, a...
Recital
GOING BAROQUE!
by James Harrod
Sunday, November 30, 2014
Virtuoso organist Charles Rus returned to the Bay Area and Sonoma County November 30th to perform a dazzling recital of Baroque organ music. Mr. Rus channeled the souls of the great 17th century giants of organ composition into the beautiful newly installed pipe organ in Sonoma State’s Schroeder Hal...
Recital
ROBUST PLAYING IN KENNER'S ANGELICO HALL DEBUT RECITAL
by Terry McNeill
Sunday, November 09, 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 openi...
Recital
CHAMBER MUSIC MASTERY IN VALLEJO SYMPHONY ORCHESTRA CONCERT
by Elizabeth Warnimont
Sunday, November 09, 2014
The Vallejo Symphony Orchestra presented the first small group performance of its 2014-2015 season Nov. 9 in the casual setting of Vallejo’s First Presbyterian Church. Clarinetist Diane Maltester wowed the audience with stunning performances of pieces by well-known and rarely heard composers. “Dian...
Recital
FRANCK ORGAN WORKS SUBLIMELY PLAYED BY MANWELL IN CAS RECITAL
by Jim Harrod
Sunday, October 26, 2014
Organist Philip Manwell played a sublime recital of the major organ works of César Franck October 26 at Santa Rosa’s Resurrection Parish. The concert was a delightful treat both for those not acquainted with Franck’s organ music and for the many organists in the audience who have studied the Belgian...
Recital
THREE DISPARATE SONATAS HIGHLIGHT BELL'S SR SYMPHONY BENEFIT IN WELLS
by Nicki Bell
Friday, October 24, 2014
Superstar violinist Joshua Bell and pianist Alessio Bax made the Well Fargo Center their first stop Oct. 24 on their world tour, and it was a scintillating benefit recital for the Santa Rosa Symphony. Mr. Bellʼs virtuosity and musicianship have elicited universal critical praise including swe...
Recital
IMPECCABLE ARTISTIC TASTE IN ANTON NEL SRJC RECITAL
by Terry McNeill
Sunday, October 19, 2014
Reporting on a recital by the Austin-based pianist Anton Nel is a predictably satisfying task. His playing Oct. 19 in SRJC’s Newman Auditorium mirrored a recital on the same stage nearly two years ago and showcased a high level of professionalism and artistry. Beginning with Mozart’s D Major "Dupor...
Recital
PIANISM OF SUBSTANCE AND CONTROL
by Terry McNeill
Thursday, October 16, 2014
Israeli pianist Einav Yarden has had several past Sonoma County appearances, but her Oct. 16 Music at Oakmont recital exhibited a new and attractive level of resolute programming, instrumental mastery and impressive musicianship. She played three substantial works, including the opening Second Engl...
Recital
MAGICAL GUITAR MASTERY IN KANENGISER'S SCHROEDER RECITAL
by Chloe Tucker
Friday, October 10, 2014
William Kanengiser is known to many in the classical guitar world as one of today’s most virtuosic players, and his recital October 10 in Sonoma State’s new Schroeder Hall was a fine testimony to his stellar reputation. Mr. Kanengiser took the stage with all the charming felicity of a player who si...
RECITAL REVIEW
Sonoma State University Department of Music / Friday, November 11, 2011
William Kanengiser, guitar

Guitarist Adam Del Monte

DEL MONTE'S GUITAR COMPOSITIONS MORE JAZZ THAN FLAMENCO AT SSU RECITAL

by Robin Brown
Friday, November 11, 2011

Substituting for classical guitarist William Kanengiser, guitarist Adam Del Monte played his own compositions and promised a Tárrega solo November 11 at a Sonoma State University recital in Green Music Center 1028.

Mr. del Monte’s playing was characterized by zippy scales and an adjusted instrument with some low strings tuned down. Low tunings are critical for the modest voice of the guitar. Unfortunately, Mr. Del Monte’s compositions lacked cohesive form and lucid textures, and sounded like demonstrating technique for technique’s sake. He is a fused cool-jazz stylist, particularly when stroking the occasional fuzzy tuned down bass strings, but there is no flamenco bite attack to effectively carry a dance tune in a jazz style.

Mr. Del Monte performed on a light colored shallow-body flamenco guitar that had an adequate voice when played with a Paco de Lucía modern flourish. He balanced the guitar high-style on the right thigh with the butt roughly below the tie-bridge. The guitarist's upper arm rests on the upper side to press down onto the leg like a vice, a precarious balance and tiring in long rehearsals. High-style allows a dance accompanist a higher sight-line and it might relieve left hand tension better than does the Andrés Segovia classical guitar position. A few flamenco players use this position and also use a footstool.

Mr. Del Monte has performed in this area before, in Healdsburg’s Ravel Cinema, where he accompanied dancers and played solo works. In this recital his playing has changed with a more facile picado alteration of index and middle fingers for scales. Before playing his Tango closer of the first half, he spoke at length of comparing forms in flamenco musical culture. In addition to the talk being confusing, there were errors on some origins of flamenco. The closest he got to any traditional flamenco toque instrumental form was the Allegro mood of his study piece subtitled Alegria. But here the playing lacked exciting shifts in dance stresses and any feeling of Lento contrast. There was little juxtaposing of parallel major to minor to major melodies and the overall dance-song feeling was absent. A typical alegría of Cádiz has danceable stress patterns but Mr. Del Monte’s composition lacked the typical hemiola doce medidas rhythmic stress pattern.

So, it was a confusing mix of explanation and performance. But in a tablao nightclub in Spain, one generally hears one fast solo and modern guitar accompaniment to composed texts for modern flamenco dance. This recital wasn’t flamenco.