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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
THE BALLADE OF JUHO POHJONEN
by Terry McNeill
Sunday, September 14, 2014
Planning a piano program around a single theme or name can be tricky because cutesy connections can easily displace artistic merit. Fortunately, Juho Pohjonen's Sept. 14 recital in the inaugural "Sundays at Schroeder" concert was a textbook example of a successful theme--ballades--supported by wonde...
Recital
KAHANE RECITAL HELPS INAUGURATE SCHROEDER HALL
by Terry McNeill
Saturday, August 23, 2014
Jeffrey Kahane returns frequently to Sonoma County in conducting and concerto performance, but rarely in recital. Two past solo events come to mind, a "fantasy" program where the Copland outshone the Schumann and Chopin, and an uneven concert capped by Chopin's F Minor Ballade. A jammed Schroeder ...
Recital
HERE COMES THE ORGAN!
by James Harrod
Saturday, August 23, 2014
The rich sounds of Dutch Renaissance organ flutes, reeds, and mixtures sounded in Sonoma County August 23 when James David Christie inaugurated the new Schroeder Hall pipe organ installation at Sonoma State University. Under the performer’s experienced and sensitive touch, the Brombaugh Opus 9 mech...
Recital
UNHURRIED COMMAND IN MENDO FESTIVAL RECITAL
by Terry McNeill
Thursday, July 17, 2014
Pianist Robert Schwartz opened Mendocino Music Festival’s piano series July 17 with a set of works in a recital made for keyboard connoisseurs. His success was doubly gratifying for the artist as he had played on the same stage at last year’s Festival, but had to cancel most of the recital due to il...
Recital
ELEGANCE AND INTROSPECTION
by Nicki Bell
Sunday, May 18, 2014
A May 18 Weill Hall audience was led by the hands and heart of Richard Goode to a quiet realm of the sublime with a performance of the masterful last three Beethoven Piano Sonatas. The program was billed as the first time the artist has toured with the Op. 109, 110 and 111 pieces, and these weighty...
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.