Word: cadenza
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Dates: during 1970-1979
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...first concerts of the season. Chang, who is one of the Music 180 graduates, was joined in the Concertino (solo group) of the fifth Brandenburg by a capable Halley Sheffler on the flute and David Schulenberg at the Harpsichord. Schulenberg's rendition of the show-stopping harpsichord cadenza was textured like the score of a Broadway musical, and it evoked a ripple of whispered enthusiasm from the audience...
...some e startling leaps and bounds. Brandon negotiated the two octave jumps and running sixteenth note passages with ease and aplomb. His real success lay less in forcing the awkward bassoon to cooperate in difficult passages than in his respect for his instrument, which was reflected in the cadenza. Instead of a flashy passage of trills and fast runs with which most soloists show their stuff, Brandon played a more melodic composition which emphasized the rich tonal qualities of the bassoon. He also showed a fine ability to improvise when he forgot a few measures. Mozart's tailored composition...
...breath control was excellent, and his technique polished--unfortunately the orchestra did not always match his standard, though the blend between them was good. The cadenza, exciting and wellplayed, was marred by a lack of communication between the soloist and the orchestra, which came in either too late or too soon, creating about five seconds of confusion before soloist-conductor-orchestra communication was reestablished...
...Program at Kirkland," Oct. 17 Crimson) does Robert Portney a serious injustice in gratuitously assuming that Portney held a "cavalier attitude toward [the] audience." Instruments will fall out of tune, especially when it's very hot, and in my view Portney's decision to stop and tune in the cadenza (where a pause matters far less than in the body of the piece) showed not disdain for the audience, but consideration for its members' ears...
...playing solo. His technique is impressive and certainly of professional caliber. His very mastery might cover up for the cavalier attitude he held toward an audience he apparently felt was not up to New York concert standards. Coming to a dead stop in the middle of the first movement cadenza, Portney explained that it was hot (more than obvious to everyone in the room) and that he wished to tune the violin. When finished, he continued the cadenza from his stopping point. As one amused orchestral member put it later, it was the first-ever four-movement Tchaikovsky violin concerto...