Word: allegro
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...conductor. The orchestra was extremely cut down, and resembled a sixteen piece Baroquesized chamber ensemble. The choice of music provided an excellent vehicle for Shumsky's awe-inspiring technical capability and his power to elicit clean, solid tone. The accompaniment by the chamber ensemble, especially in the final Allegro, had a shimmering, airy quality--one that marks a thoughtful interpretation of Italian Baroque music. Michael Curry, in particular, carried the obbligato lines to Shumsky's solo passages with crisp vitality...
...woven an intricate piece of pervasive undercurrent themes and harmonies, based on fourth intervals rather than the traditional thirds. The concert band's playing was coordinated; not too restrained and quite fluid. Its mastery of contrasting ominous percussion in the opening Adagio and wild dynamics in the ensuing Allegro was conspicuous. The reflective, nicely sustained passages of the muted brass in the second movement, along with the fine ensemble of the baritone horns' tone color in the Allegretto showed that a concert band can indeed render a sensitive performance of a demanding work without the supportive strings of a full...
...Stulberg set an easy pace for the almost religious lyrical passages that followed. He allowed the audience to revel in Mozart's rich, melancholy harmonies. Some well-placed accents would have given the ensuing third movement the bounce it sorely missed. Stulberg picked up the tempo for the final allegro. His careening pace in the finale left his players nearly breathless. Their fleeting runs, although technically accurate for the most part, sounded harsh and forced...
Favorite chamber works of Ravel and Stravinsky, featuring the Pulcinella Suite and Introduction and Allegro, performed by nine musicians from Music 180. Kirkland...
...most impressive technique. The second work, a series of Tchaikovsky Divertissements, though a virtuoso exercise, lacks the excitement of the other two pieces: "Songs," choreographed by Carol Jordans of the Cambridge School of Ballet to Mendelsshon's "Songs Without Words," and "Pas de Trois," choreographed by Hochberg to the allegro movement of Mozart's "Clarinet Quintet in A." In Jordan's work, the trio of dancers evokes Mendelssohn's past. Rosenberg's sprite, Hochberg's strength, and Figie's smoothness create the moods of childhood, maturity and old age. The crowning glory of the evening, however, is Hochberg's piece...