Stellar Piano at Piccolo Spoleto

Reviews like this are read, more often than not, by people who were not at the performance, and it is virtually impossible to convey what the experience was really like: the setting, the ambiance, the energy of the performers, and particularly the quality of the music and its effect in the moment. (In this case, I was sitting on the floor at the back of the hall, leaning against the wall with my eyes closed a large part of the time, listening to the stirring works of Rachmaninoff and Chopin). But wouldn’t it be more interesting to read “a little taste in advance” as a preview that might tempt you to see the performance, rather than just the afterword? Seems like it would be worth at least an experiment. What do you think?

pianist Sean Kennard

But back to the concert. Sean Kennard—another accomplished student of Enrique Graf—has a relaxed, professional demeanor at the keyboard that immediately puts you at ease. He comes across as a genuine player more than a stage performer, which draws you in even further. His technique is very polished, his expression ultra clear. So much so that you forget about the piano and simply hear the music that he delivers through it—which is rare, and which made me think of the line in the film “Mao to Mozart” when Isaac Stern reminds a young violinist: “You don’t use music to play the violin, you use the violin to play music.” That’s when it becomes art. And that’s what Sean did today as part of the Piccolo Spoleto “Young Artists Series” when he played three pieces by Rachmaninoff and then was joined by five string players—fellow students at the College of Charleston—for Chopin’s Concerto No. 1 in E minor.

Sean Kennard and Friends

Sean skillfully managed the Rachmaninoff works, beautifully capturing the Russian composer’s unique blend of poetry and magnificence. He did equal justice to the Chopin concerto (one of only two by Chopin) which contains several rousing passages that build gradually in feeling and intensity, but which Sean did not overplay.

After four dynamic pieces, he concluded with an encore of Debussy’s Clair de Lune, which further exhibited Sean’s exquisite sensitivity and delicate touch. All the while, I could not help but glance now and then at mentor Enrique Graf to see his reaction. From all indications, it is immensely gratifying for him to see his young protegés flourishing like this. And thanks to Piccolo Spoleto, we get to reap some of the listening benefit for ourselves. ¶