By Jerry Kuderna

I had looked forward to hearing Kevin Kenner since reading about his playing in Joseph Horowitz' account of the 1989 Cliburn competition where, though he did not win the top prize, he was decidedly a strong presence. As I recall, his Chopin playing was one of the hits of the competition and it was under the auspices of the US Chopin Foundation that he appeared at Old First Church on Friday night.

Impressive as his list of competition medals is, I found Kenner's playing to be much more impressive. I found a welcome lack of affectation and a focus which went to the music rather than to the performer's personality. In the opening work, the Schubert "little" A-major Sonata Op. 120, lyricism predominates. And while there was everywhere a lovely singing tone, Kenner seemed most comfortable in the slow movement. Here, Kenner's ability to project at soft dynamic levels with many gradations of sound found ideal expression. In the outer movements, when the music becomes more active, I felt Kenner to be not quite expansive enough. In the finale the music sounded rushed and its wistful humor didn't always come through.

From the first notes of the Chopin group, the great Barcarolle in F-sharp, the pianist seemed to be completely in his element. Long lines emerged with freedom and the proportions and the sound were well matched. The gossamer passage-work of the middle section shimmered like light on water. Chopin once again emerged as a great "knower" of the piano. Kenner was less knowing in his judgement of the tempo of the Scherzo in C-sharp minor. It succeeded as demonstration of tremendous octave technique, but it was somehow blurred and less dramatic. The slower chorale (trio) section was not well-integrated and sounded lost in the cascading runs that embellish it. The Andante Spianato and Grand Polonaise succeeded in combining Kenner's lyric gifts with his big technique. It was played with breathtaking ease and accuracy and made a dazzling close to the first half of the program.

Chopin's F-major Ballade began the second half. Kenner, like the Chopin of legend, seems to be reserved, almost retiring on stage. The modest first page of the Ballade proved the ideal continuation of his program. The beauty and sensitivity he demonstrated here was quite exceptional and beckoned the listener with an inviting, if short-lived, warmth. The savage attack of the presto seems to come out of nowhere. Kenner made the most of it, and the final coda — one of Chopin's great dramatic moments — was terrifying in its inexorable drive and final collapse. Would it have been more exciting at a less breathless clip? It's an open question. It is obvious he can play it any tempo he wishes.

The Schumann Fantasy concluded the program. The first movement, originally entitled "Ruins" and marked "with great passion throughout," ran the gamut of moods from feverish suffering to calm acceptance. The second movement is a kind of syncopated march, laced with obsessive dotted rhythms which careen along until the music goes completely crazy at the end. Usually it's the pianist who goes crazy, but Kenner managed to keep it all under control and he negotiated the perilous coda with great elan. The final movement yielded much playing that was poetic without going over the edge into sentimentality.

By ending quietly with the Schumann rather than with the much more brilliant Grand Polonaise of Chopin, Kenner did not produce the frenzy that pianists of his caliber often provoke. His single encore was a long-forgotten bit of fluff called La Source by Leschetizky. It sounded like a disclaimer after such a monumental work as the Fantasy, the real source being Schumann's Traumeswirren. Thank you Mr. Kenner for a memorable recital. Next time, more Schumann, please.

(Jerry Kuderna is a pianist who teaches in Berkeley and at Diablo Valley College.)

©2002 Jerry Kuderna, all rights reserved