Exquisite Economy: A Recital by Kenny Broberg
Dr. Gary Lemco, Peninsula Reviews
With a spellbound audience still in thrall, Kenny Broberg raised his hands away from the keyboard, Sunday afternoon, January 21 at Le Petit Trianon, having just executed a titanic rendition of the Liszt Sonata in B Minor that immediately garnered a paroxysm of praise. Mr. Broberg appeared under the auspices of the Steinway Society the Bay Area in music by Franck, Bach, Debussy, and Liszt, in which each selection demonstrated the structural economy of imaginative materials, deftly transfigured into brilliant keyboard vehicles.
Broberg opened with Harold Bauer’s 1910 transcription of Cesar Franck’s finely chiseled organ piece, Prelude, Fugue and Variation (1862), which Franck dedicated to another skilled organist, Camille Saint-Saens. The piece opens with a graceful simplicity in Franck’s favorite B Minor, with a tender, flowing melody not far from Bach’s Liebster Jesu, wir sind hier. The pattern that ensues involves askew five-bar phrases, each rounded out in the manner Schumann employs to achieve “classical” architecture. Before the three-voice Fugue section opens, it, too, has a brief prelude. The Variation part simply reintroduces the opening motif accompanied by fast-moving figures. Broberg made the work eminently clear, polished, and refined, his pedal a model of graduated dynamics.
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