Word: beethoven
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Dates: during 1990-1999
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...celebrate conductor Seiji Ozawa's 25th Anniversary. Roberta Flack hosted the event, with Joseph Lin '00 joining them as a featured soloist for the first movement of Tchaikovsky's Violin Concerto in D, Opus 35. The grand affair, whose ambitious program featured famed excerpts from the likes of Strauss, Beethoven and Gershwin, kicked off a new BSO initiative called "Symphony in the City" the aim of which is to offer free music to the city neighborhoods of Boston...
Next of the program was the Beethoven F major Sonata from Op. 10--in my opinion, Perahia's strongest performance of the night. This piece has enormous innate appeal, but certainly does not play itself and Perahia made it dazzling. Perahia imparted to the main theme of the allegretto middle movement the proper sense of graceful ghostliness, and played the living daylights out of the trio, but the real jawdropper here was the presto rondo finale. In an interview with WHRB, Perahia revealed that, studying under Miecyslaw Horszowski, he practiced his Leschetisky method like a good little boy. Nowhere...
...capital offenses were in the finale, where often his left hand growled indistinctly or pounded an ostinato where it should have been a more sensitive accompanist, and once he even wandered into a thicket of wrong notes. It made one grateful and Perahia did not have access to Beethoven's rickety old Broadwood piano...
...Schubert C Minor Sonata D. 958. This interpretation was worlds away from the famous hair-sizzling live recording made in Budapest in 1958 (coincidence?) by Sviatoslav Richter-The tempi were less "hell" and more "high water." The beginning of the first movement, phrased to remind us of Beethoven's 32 variations in the same key was the first of many well-executed musical decisions that kept the audience rapt for the entirety of this very long sonata. Peheria was rewarded with three encores...
...name of the community extinguished." Blacklisted by the Nazis Martin arrived in New York City in March 1941, finding the strength to write about the atrocity a year later. The piece is remarkably simple, resonating like a clanging cymbal in slow motion. Martin included the opening motif of Beethoven's Fifth Symphony, which by its rhythm coincides with the Morse code symbol for the letter "V," much popularized by Churchill's "V for Victory" gesture...