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Daniele Gatti is currently finishing his first tour of the United States, which will culminate in a performance at the John F. Kennedy Center on Nov. 2. Aside from Schubert and Mahler, the Royal Philharmonic repertoire includes Schumann's Piano Concerto, Bartok's Concerto for Orchestra and Tchaikovsky's Symphony No. 8, as well as Respighi's Fountains of Rome, a piece just recorded in the first installment of Gatti's contract with BMG's Conifer Classics label...

Author: By Andrea H. Kurtz, CONTRIBUTING WRITER | Title: Devil Inside Mr. Gatti: How to Make an Audience Faint | 10/31/1997 | See Source »

...play it, not only to make big bucks but also because they like it. When Jean-Yves Thibaudet, famous for his interpretations of Ravel and Rachmaninoff, records an album of piano solos by jazz great Bill Evans, or the Kronos Quartet programs Jimi Hendrix side by side with Bela Bartok, you know something is happening...

Author: /time Magazine | Title: MUSIC: CROSS OVER, BEETHOVEN | 3/31/1997 | See Source »

...played a Telemann sonata and some Bartok and the audience was pretty enthusiastic; they liked it," Chen says...

Author: By Curtis R. Chong, | Title: Professor Finds Beauty In Violins and Viruses | 11/22/1995 | See Source »

...perhaps, the peak of his career. In addition to performing live concerts in seven cities, Jarrett, 50, is simultaneously releasing a six-CD set, Keith Jarrett at the Blue Note, featuring his trio's nuanced performances of jazz standards. His "classical" repertoire, moreover, encompasses music from Bach to Bartok; last summer he performed a Mozart piano concerto with the Boston Symphony, and he has just released a disc of suites for keyboard by Handel. Always a difficult composer to pigeonhole--he is scornful of minimalism, which his music sometimes resembles, and calls New Age music, which some profess to hear...

Author: /time Magazine | Title: MUSIC: GROWING INTO THE SILENCE | 10/23/1995 | See Source »

...feeling, but the playing was emotionally unremarkable. The high point of the Beethoven came in the Scherzo. where Buswell's devil-may-care boldness struck a wonderful contrast to Levinson's filigreed lines. Here, the interplay of the instruments finally reached the same heights it had achieved in the Bartok...

Author: By Daniel Altman, | Title: Gardner Grows Fresh Beethoven And Bartok | 5/10/1995 | See Source »

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