The Chamber Music of Nino Rota


Trio for Clarinet, Cello and Piano
1.  I. Allegro 00:05:53
2.  II. Andante 00:05:37
3.  III. Allegrissimo 00:05:29

4.  Improvviso in D Minor 00:04:47
5.  Toccata for Bassoon and Piano 00:04:59

Clarinet Sonata in D Major
6.  I. Allegretto scorrevole 00:05:27
7.  II. Andante (quasi adagio) 00:05:43
8.  III. Allegro scorrevole 00:05:45

9.  Fantasia in G Major 00:15:27


Performances are excellent… Recording is clean, bright and open like the music itself

Phillip Scott - Fanfare

This is a charming disc, its appeal not only in the high level of performance, but in the inherent contrasts found within the music… Gojevic’s warm tone and Kenedi’s solid command of the score result in a fine performance.

Richard Haskell, “WholeNote”

Although this album is all about the fine ensemble writing and ensemble work, Kenedi and her piano are the glue that holds all of this music together. She is by turns fiery and reflective, playing with beguiling élan as well as elegance.

John Terauds “Ludwig Van Toronto”

The Naxos disc… is glorious: Rota at his breezily nostalgic best… The musicians give terrifically poised performances, especially clarinettist Goran Gojevic and pianist Mary Kenedi.

Byzantion - Art Music Reviews

Weinzweig In Concert

Weinzweig in Concert Cover.jpg

Divertimento No. 1 
1. I. Fast and Slow 2:28
2. II. Slow 4:43
3. III. Fast 4:17

4. Violin Sonata [7:19]
5. Refrains [10:44]

15 Pieces:
6. No. 10. Why Not? [2:41]
7. No. 7. Bluenote [2:13]
8. No. 6. Fine Time [5:44]

9. Tremologue [19:26]
10. Divertimento No. 11 [13:59]

This recording was made on March 11, 1993, in a gala concert honoring Canadian composer John Weinzweig on the occasion of his 80th birthday. These varied works are very impressive and I enjoyed each one without reservations. The performers are among Canada’s top musicians. More reasons to give this release my unqualified endorsement.

De Jong, “American Record Guide”

The performers, some of them the best in the country include Lawrence Cherney, Martin Beaver, Steven Dann, Joel Quarrington and Mary Kenedi.

W. Littler, “The Toronto Star”

This is an important document in the history of music.

K. DeLong, “Calgary Herald”

A Voice Not Stilled


1. Bloch: Scherzo Fantasque for Piano and Orchestra [10:46]

2. Bartók: Rhapsodie pour le piano et l’orchestre [21:20]

Easton: A Voice Not Stilled (European premiere)
Sinfonia Concertante for piano and orchestra on themes by Gabriella Kolliner
3. I. In the Beginning [7:21]
4. II. Flight into Darkness [6:45]
5. III. Music in the Silence of the Night [9:31]
6. IV. A Voice Not Stilled [8:40]

Quos Ego


The Complete Piano Works of Zoltán Kodály

Méditation sur un motif de Claude Debussy [5:54]

Nine Pieces for Piano, Op.3 [22:42]
1. Lento [2:04]
2. Andante, poco rubato [3:46]
3. Lento – Andante [3:24]
4. Allegretto scherzoso [2:09]
5. (quos ego…) [1:01]
6. Moderato triste [2:44]
7. Allegro giocoso [1:55]
8. Allegretto grazioso [2:14]
9. Allegro commodo, burlesco [3:22]

Valsette [1:27]

Seven Pieces for Piano, Op.11 [23:56]
1. Lento [1:22]
2. Transylvanian Lament [2:19]
3. “il pleut dans mon coeur comme il pleut sur la ville” (Verlaine) [1:22]
4. Tomb inscription [6:34]
5. Tranquillo [2:15]
6. Transylvanian song [3:50]
7. Rubato [6:03]

Dances of Marosszék [12:32]

Motions & Emotions


Jean Coulthard: Sonata for Piano [21:08]
1. Freely and lyrically [8:42]
2. Threnody – slow and pensively [5:22]
3. Finale – Resolutely [6:54]

John Weinzweig: Piano Sonata [13:31]
1. Allegro scorrevole [4:14]
2. Andante quasi Allegretto [4:32]
3. Con moto, Giocoso [4:38]

Talivaldis Kenins: Sonata no. 3
“…motions…and emotions” [18:14]

Gary Kulesha: Second Sonata for Piano “All in one movement’ [22:07]
i. Maestoso
ii. Slowly, with Rubato
iii. Fast



Jack Behrens: Hommage to Chopin [5:38]

Ann Southam: Remembering Schubert [12:13]

Talivaldis Kenins: Shumann Paraphrases & Fugue [18:25]
1. Anguish-Agitato [2:14]
2. Nostalgia-zart, Heimlich [5:05]
3. Ecstasy-mit Aufshwung [3:38]
4. Farwell: Fugue-moderato quasi maestoso [7:26]

John Rea: Las Meninas [40:18]

Congratulations to Toronto pianist Mary Kenedi not only for bringing these interesting pieces together but for playing them with evident care.

W. Littler, “The Toronto Star”

I had a possibility to listen to “Palimpsest”. I enjoyed all the Different point of views.

W. Westerlink, Brussels

A Long Time Ago Into The Future


Michael Horwood: Broken Chords [16:21]

Talivaldis Kenis: Sonata no. 1 for Piano [22:15]
1. Adagio-vivace assai [8:17]
2. Andante con variazioni [8:50]
3. Rondo, presto [5:08]

Mary Gardiner: A Long Time Ago Into The Future [12:25]

Larysa Kuzmenko: In Memorium
to the Victims of Chornobyl [7:00]

Four appealing and challenging pieces benefit from Kenedi’s expert and idiomatic playing. Kenins’ 1961 Sonata No.1 for piano is the longest and most engrossing, but there are no low points in this collection.

R. Todd “The Ottawa Citizen”

Mary Gardiner’s “Long Time Ago Into the Future” was written for Mary Kenedi. Kenedi portrays this music fittingly, with rhythmic flair and sense of intrigue.

W. Hughes, “American Record Guide”

A specialist in Hungarian music, Toronto pianist Mary Kenedi also has developed a strong commitment to Canadian music in recent years.

W. Littler, “The Toronto Star”

Mary Kenedi Plays Bartók


1. Six Roumanian Dances [4:45]
2. Suite Op.14 [9:09]

Two Roumanian Dances OP.8/a
3. Dance #1 [4:49]
4. Dance #2 [4:29]

5. Fifteen Hungarian Peasant Songs [12:26]
6. Allegro Barbaro [2:43]

No one familiar with Mary Kenedi’s career will be surprised to find the name Bartók on her program. Rightly focusing attention on Bartók’s folk-inspired rhythms, she offers consistently animated performances of Roumanian Folk Dances,, Suite, Op. 14, Two Roumanian Dances Op. 8/a, Sonatina, Fifteen Hungarian Peasant Songs and the vituosic Allegro Barbaro.

W.  W.Littler, “The Toronto Star”

Mary Kenedi serves up some fine playing in this all-Bartók disc, featuring a handful of her compatriot’s best-known pieces. Kenedi’s readings stand up quite well alongside the competition, which includes the likes of S. Bishop and M. Perahia.

R. MacMillan, “Classical Music Magazine”

Béla Bartók: For Children
(1996 Reissue)


Volume I: Songs 1 – 40

Volume II: Songs 41 – 78

Mary Kenedi, a Toronto pianist has two albums containing some of Bartók’ lighter music. These are worthwhile offerings because Kenedi is one of the rare pianists who seems to realize that the music is light. The playing is a delight from beginning to end.

Kenedi’s playing of the 78 short pieces of Bartók’s “For Children” is better than any other performance or recording I’ve heard. The uncomplicated charm and happiness of her approach suits the music perfectly.

R. Todd, “The Ottawa Citizen”

Congratulations are in order for Mary Kenedi, who performs the 79 little piano pieces with which Béla Bartók helped revolutionize musical education… imaginative… wealth of harmonic novelty…ready to entice young ears end excite young fingers…A splendid piece of work all around.

“The Toronto Star”

 She (M.K.) is to be commended for the professional polish as well as for her obvious sympathy for Bartók’s style. Even if you don’t have children to play this album for, you may find yourself listening to it again and again; the clarity and subtlety set a definite mood that are many more virtuosic recordings don’t come close to.


Mary Kenedi executes these pieces crisply and with insight. Her touch is bold and dynamic….gives these works that idiomatic inflection they deserve. The production is excellent.

“Music Magazine”

..performed by Mary Kenedi with such expression, that they not only appeal with their simplicity to children, but also to adults.…not every performer succeeds in bringing out these nuances. Mary Kenedi has succeeded on this record in adding great artistic achievement to the intended simplicity.

“Hungarian Life” 

Mary Kenedi has the combination of musicianship and of insight into the national character of Béla Bartók’s settings of Hungarian and Slovakian folk songs.

Kenedi presents these little gems genuinely as music, playing them with a lyricism and nuance that contrast markedly with the aggressive brittleness and percussiveness which most pianist inflict of any of Bartók’s piano works.   …few pianists, especially in North America, can seem to demonstrate such affinity for the music.

The quality of the recorded sound is pleasingly resonant and life-like.