Sean's latest album has been released by Delos! A special thank you to Stetson University's Summer Grant funding, which made this recording possible. Click here to find out more and purchase.
Sean finished recording a new album to be released on Delos records in Fall 2018. The disc features 20th century American composers Samuel Barber and Aaron Copland. Stay tuned for more info as the release date approaches!
Sean was invited to join the international faculty for the 2018 Costa Rica Piano Festival and Competition, held from July 14 - 23. In addition to private lessons, master classes, recital performances, and recreational activities in one of the world's most beautiful countries, participants have the opportunity to be chosen to perform a concerto with the Costa Rica Festival Orchestra in San Jose. To find out more or to apply, please visit: https://www.costaricapianofestival.com/ or the festival's Facebook page
With Jonah Kim, cello
With Karen Coker-Merritt, soprano
With Routa Kroumovitch-Gomez, violin
Sean Kennard has won top prizes in the Queen Elisabeth Competition (Belgium), the International Music Competition of Viña del Mar (Chile), the Vendome International Piano Competition (Portugal), the Sendai International Music Competition (Japan), the Hilton Head International Piano Competition (USA), the National Chopin Competition, the Iowa Piano Competition, the American Pianists Association, and the International Chopin Competition of the Pacific.
The Washington Post praised Kennard’s “powerful and involved music making,” describing him as “a strong luminous pianist.” His 2011 debut album received a rave review in American Record Guide, which pronounced it “a hidden gem,” attesting to its “perfect blend of lyricism and romantic passion,” “huge romantic sound, and bold melodic vision.” It proclaimed that he “plays the dickens out of the Stravinsky [Three Movements from Petrushka]” and “plays Chopin’s Preludes with more poise and vision than most pianists who have recorded them.” Fanfare affirmed the enthusiastic reception, naming the album “a very desirable disc” and citing “Kennard’s mastery of Chopin’s idiom,” its “impression of complete effortlessness” and “emotional responsiveness.” The review characterized his playing as “full of life and sparkle,” summing up: “while I wouldn't necessarily say that Kennard outclasses Ashkenazy, Rubinstein, Moravec, Ohlsson…in this repertoire, he surely equals them.”