The figure of Leonard Pennario was extremely relevant for the North American pianism. He was part of that memorable elite of renowned pianists composed by William Kapell, Earl Wild, Leon Fleisher, Julius Katchen, Eugene List, Raymond Lewenthal, Oscar Levant, John Browning, Gary Graffman and Lorin Hollander.
Like Katchen, his musical preferences were always turning around the Romantics. As a matter of fact, he was the First pianist all over the world (after the very composer) in order to play the set of Piano Concertos of Serge Rachmaninov. We still remember his unforgettable version of Gabriel Faure’s Pavane Op. 50, I wouldn’t hesitate for instance at the moment to label him as the most relevant North American interpreter of Cesar Frank and Bela Bartok. In this sense, it might be said that every North American pianist reserved for himself a determined composer; Kapell- Rachmaninov, Wild-List, List- Gottschalk, Levant-Gershwin, Lewenthal-Alkan, Katchen – Brahms piano music, Fleisher- Brahms piano concertos, Browning- Prokoviev and Barber
His sad departure in 2008 left a void hard to fill. He became one of the most reminded pianists of the first half of the century.
Pennario is just not in the ranks of the greats. Not Horowitz nor Richter. His best I`ve heard is his scorching performance as the dedicatee in the Spellbound Concerto conducted by Miklos Rozsa on the Capitol label. I wondered whether this Variations CD would be sort of lounge music. He disappoints if he is entertaining the film music buffs and the pop listener. Because simply it does not reach either. I was let down because he could not bring out the melody to the fore. Throughout, his accompaniments tend to dilute the melodic strength of these lovely film music themes. Of course, the originals are a class by themselves. Even the Romeo and Juliet themes could not achieve the festive air and tempo it should have.Kings Row could have been better. Korngold would not be pleased. Midnight on the Cliffs sounded more like waves breaking rather than a lovely music theme. Midnight Cowboy and the Sand Pebbles love theme fared no better. I think Pennario should have got Conrad Salinger to do the orchestrations and Alfred Newman the arrangements. If he had at least followed the Roger Miller or George Creely formula it would have turned out fine. Not a CD to recommend highly.
Rating: 3 / 5
Hiram Gomez Pardo Says:
The figure of Leonard Pennario was extremely relevant for the North American pianism. He was part of that memorable elite of renowned pianists composed by William Kapell, Earl Wild, Leon Fleisher, Julius Katchen, Eugene List, Raymond Lewenthal, Oscar Levant, John Browning, Gary Graffman and Lorin Hollander.
Like Katchen, his musical preferences were always turning around the Romantics. As a matter of fact, he was the First pianist all over the world (after the very composer) in order to play the set of Piano Concertos of Serge Rachmaninov. We still remember his unforgettable version of Gabriel Faure’s Pavane Op. 50, I wouldn’t hesitate for instance at the moment to label him as the most relevant North American interpreter of Cesar Frank and Bela Bartok. In this sense, it might be said that every North American pianist reserved for himself a determined composer; Kapell- Rachmaninov, Wild-List, List- Gottschalk, Levant-Gershwin, Lewenthal-Alkan, Katchen – Brahms piano music, Fleisher- Brahms piano concertos, Browning- Prokoviev and Barber
His sad departure in 2008 left a void hard to fill. He became one of the most reminded pianists of the first half of the century.
In memoriam!
Rating: 5 / 5
Anonymous Says:
Pennario is just not in the ranks of the greats. Not Horowitz nor Richter. His best I`ve heard is his scorching performance as the dedicatee in the Spellbound Concerto conducted by Miklos Rozsa on the Capitol label. I wondered whether this Variations CD would be sort of lounge music. He disappoints if he is entertaining the film music buffs and the pop listener. Because simply it does not reach either. I was let down because he could not bring out the melody to the fore. Throughout, his accompaniments tend to dilute the melodic strength of these lovely film music themes. Of course, the originals are a class by themselves. Even the Romeo and Juliet themes could not achieve the festive air and tempo it should have.Kings Row could have been better. Korngold would not be pleased. Midnight on the Cliffs sounded more like waves breaking rather than a lovely music theme. Midnight Cowboy and the Sand Pebbles love theme fared no better. I think Pennario should have got Conrad Salinger to do the orchestrations and Alfred Newman the arrangements. If he had at least followed the Roger Miller or George Creely formula it would have turned out fine. Not a CD to recommend highly.
Rating: 3 / 5