Word: beethovens
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Included on tomorrow's program will be two local premieres: the Symphony in D by Mehul, a celebrated contemporary and favorite of Beethoven; and the superb Third Piano Concerto by Bartok, the last work finished by the composer before he died in New York. Soloist in the concerto will be Katja Andy...
...another try at the Leventritt Award, which brings $1,000 in cash and appearances with the New York Philharmonic, Cleveland, Detroit, Pittsburgh, Buffalo and Denver symphony orchestras. Onto a stage at the Metropolitan Museum of Art paraded four other finalists: Ralph Votapek, who gracefully turned the willowy phrases of Beethoven's Concerto No. 4; Bela Szilagi, whose Brahms and Liszt were played with cohesive intensity; Marilyn Neeley, a petite brunette who mastered the pyrotechnics of Tchaikovsky with brute female strength; and Stephen Manes, whose forte is clarity...
Then Block took charge at the piano, and with Mozart's "Coronation" Concerto prompted Serkin and Bernstein, Mannes and Graffman and Szell and Firkusny to exchange pleased glances. "Let's hear Beethoven's Opus 27 in E-flat," asked Leopold Mannes from the balcony. Block then eased his way into the Beethoven sonata fantasy with a keen intelligence that paid heed not only to detail but also to essential unity. Displaying versatility as well as virtuosity, Block played a cadenza from a Tchaikovsky concerto and a Liszt sonata. Chattering excitedly, the judges reached a verdict...
Vivaldi, Bach, Handel, Beethoven, Schubert-whoever the composer, the music is rarely heard quite as written: De Koven has an unsettling habit of cutting slow passages on the ground that "the fast ones are far more interesting." He is also a confirmed believer that "you don't have to be an intellectual to appreciate music. Who wants music to be profound?" De Koven's prejudices, in fact, are frequently more entertaining than his programs. "I attend no concerts," says he. "I consider them an anachronism like opera. Concerts are primarily mutual exhibitionism on the part of both performer...
Warmed up by the opening Bach Partita No. 5 (G major), Hellman played Beethoven's Sonata Op. 78 with delightful clarity. This oddly structured little sonata has two movements, both allegro, preceded by four measures of 'adagio cantabile.' The harmonies and motives of these four measures contain the thematic material of the following two movements in embryonic form. Hellman saw to it that those materials flowered. Judging Beethoven's instruction, 'Allegro ma non troppo' aright, he chose a properly delberate tempo, then, at the appropriate spots, took liberties with it. In the second movement, he went beyond the bounds...