Home  Reviews  Articles  Calendar  Presenters  Add Event     
Recital
ELEGANT PIANISM IN WATER MUSIC CHARMS HOUSE RECITAL AUDIENCE
by Terry McNeill
Sunday, September 03, 2017
A standard component of house concerts often involve listeners hearing the music but also smelling the lasagna and seeing the champagne in the adjacent kitchen. But it was not the case Sept. 3 at Sandra Shenís Concerts Grand House Recital performance, as her riveting piano playing enthralled the sm...
Recital
ADAMS' PHRYGIAN GATES HIGHLIGHTS MORKOSKI FESTIVAL PERFORMANCE
by Lee Ormasa
Saturday, July 22, 2017
Attendees at the Molly Morkoski Mendocino Music Festival recital July 22 were in for a treat, both pianistically and if they happened to buy a tasty cookie during intermission. The program included Beethovenís Op. 27 Moonlight Sonata, Adamsí Phrygian Gates, a surprise add-on of Griegís Holberg Suit...
Recital
ORGAN REGISTRATION MASTERY HEARD IN WALHAIN'S RECITAL
by Robert Young
Tuesday, July 18, 2017
A group of 65 lucky attendees July 18 had the pleasure of hearing Etienne Walhainís recital at the Church of the Incarnation in Santa Rosa. Mr. Walhain is organist at the Cathedral of Notre Dame in Tournai, Belgium, and played to a varied program Bach, Franck, and Reger. He used the tonal resource...
Recital
NOVACEK'S 2ND HALF TRIFECTA SCORES AT MENDO MUSIC FESTIVAL
by Terry McNeill
Thursday, July 13, 2017
Modern classical piano recitals are in two parts, with longer and perhaps more profound music proceeding perhaps shorter and usually stimulating lighter fare. In John Novacekís July 13 Mendocino Music Festival recital the best playing came unexpectedly in the eight abbreviated works comprising the ...
Recital
STYLUS AND PLAYING FANTASTICUS IN YOUNG'S ORGAN RECITAL
by Paul Blanchard
Sunday, June 25, 2017
Organist Robert Young gave a wonderful tour through the stylus fantasticus (fantastic style) organ literature June 25 playing a recital on the Casavant organ at Church of the Incarnation in Santa Rosa. Mr. Young recently became the organist at the Church and previously served for 20 years as Music D...
Recital
DEMANDING VIOLIN SONATAS CONQUERED BY BEILMAN-WEISS DUO IN SCHROEDER
by Terry McNeill
Sunday, May 14, 2017
Violinist Benjamin Beilmanís ravishing Mozart performance at last summerís Weill Hall ChamberFest finale lured an enthusiastic crowd to Schroeder Hall May 14 to hear if his secure virtuosity was up to a program of demanding sonatas. He did not disappoint. With the powerful pianist Orion Weiss in t...
Recital
MASTERFUL PIANISM IN GOODE'S WEILL HALL RECITAL
by Sonia Morse Tubridy
Friday, May 05, 2017
Pianist Richard Goode programmed an evening of treasures May 5 from four great composers, and is an artist of intimacy and intelligence, power and passion, able to go deep and to soar. Hearing Mr. Goode play this literature was a reminder of how music does indeed bridge worlds and time. Bachís E m...
Recital
ELEGANT ORGAN SALUTE TO THE REFORMATION
by Paul Blanchard
Sunday, April 30, 2017
Organist Jonathan Dimmock presented an April 30 recital in homage to the 500th anniversary of the Reformation, playing Schroeder Hallís wonderful Brombaugh instrument. Mr. Dimmock is the organist for the San Francisco Symphony, principal organist for the Palace of the Legion of Honor and teaches at...
Recital
SCHUMANN AND BARTOK HIGHLIGHT BRONFMAN RECITAL IN WEILL
by Lee Ormasa
Friday, April 21, 2017
Those people once addicted to the ďAngry BirdsĒ game application likely suffered an auditory flashback during the opening measures of the allegro from Bartokís Suite, Op. 14, the opening work in Yefim Bronfmanís April 21 recital at Weill Hall. The repetitive opening figures of the Bartok were...
Recital
SLAM BANG SONORITY IN HAOCHEN ZHANG'S SCHROEDER RECITAL
by Terry McNeill
Sunday, March 19, 2017
Piano Competition winners are in ample supply, and itís often a hit and miss proposition as to their sterling interpretative qualities. However, the quadrennial Van Cliburn Competition in Ft. Worth has continually produced top-level artists, and the 2009 winner Haochen Zhang proved a formidable per...
RECITAL REVIEW
Astrologue Productions / Sunday, April 22, 2012
Kenn Gartner, pianist

Pianist Kenn Gartner

GARTNER PLAYS FAMILIAR CHOPIN IN APRIL 22 RECITAL AT MARIN'S J-B PIANO

by John Metz
Sunday, April 22, 2012

Marin pianist Kenn Gartner performed a recital April 22 at San Rafaelís J-B Piano. The all-Chopin program was not particularly adventurous but easily accessible for audiences and a safe bet for getting the more reluctant concertgoers to attend.

Mr. Gartnerís Chopin playing is refreshing because of the freedom, nonchalance, and rawness with which he plays familiar repertoire. In this 21st Century world of cookie-cutter super virtuosos, a pianist who has the guts to go onstage and just be himself is rare.

The program began with one of Chopinís most famous melodies, familiar to even to those with limited knowledge of classical piano repertoire: the E-flat major Nocturne from Opus 9. Gartner took an unusually slow tempo to start, but soon abandoned it, adopting several other tempi throughout the piece. He utilized a vast palette of tonal colors, and there were some magical moments where the performer drew the listener in with surprising pianissimos and striking rubato. Though in general, the tone for this piece was muscular and the rhythm seemed amorphous.

One of the afternoonís highlights was the epic G minor Ballade. As was true of the Nocturne, tempi in this work shifted dramatically throughout, which reduced the overall cohesiveness of the Ballade, and made what otherwise would be a united whole into more choppy vignettes of this, that, and the other. Mr. Gartnerís strength in the Ballade was his willingness to let go and pull out all the stops for the climaxes. And he gave new life to lines in the music that many performers often neglect. Yet there was often a sense of too much trying. Too much muscle in the tone, overplaying the rubato and wrong or missing notes.

The Two Nocturnes of Op. 27 are among Chopinís best works in the genre. The first of the two, the Nocturne in C-Sharp Minor, has serene and introspective outer sections pitted against a dramatic whirlwind in the middle. And the second, in D-flat major is, or should be, nothing short of spiritual. I wanted to hear more tonal beauty in these performances, though I appreciated the pianist's careful attention to the often hidden musical lines of the D flat. And in the famous Military Polonaise of Op. 40, I missed the excitement of the polonaise rhythm. Mr. Gartner brought out the drama of the Op. 40 Polonaise in C minor, highlighting the abrupt and enormous dynamic contrasts within an overall melancholy quality. And he played the lovely G-flat major Impromptu, Op. 51, with great speed. Yet I wanted the pianist to charm the audience even more with this wonderfully wistful piece.

The recital closed with Chopinís famous Heroic Polonaise in A-flat major, Op. 53. In this work the technical centerpiece is the rousing moto perpetuo bass octaves in the middle section. Mr. Gartner executed these with great facility and I appreciated that the octaves had shape and started quiet, growing louder only as the right hand melody grew, keeping the listener in suspense as he approached the more dramatic climaxes. As with most the afternoonís playing, accuracy was lacking, and the tone seemed harsh. But then again, the Heroic Polonaise is a rather loud piece.

For an encore, there was the famous D-Flat Major Waltz from Op. 62, "Minute."