Word: cadenza
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Dates: during 1990-1999
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Take, for instance, the cadenza in the first movement of Beethoven's Piano Concerto No. 1. Other pianists too often drift from the Classical period provenance of the concerto, when cadenzas were improvised, and play the cadenza with a near seamless bravura that is more suited to the concertos of the Romantic composers, thereby losing its sense of extemporaneous drama--and obscuring many of Beethoven's boldest, and funniest, inspirations. Not Brendel, whose subtle emphases, infinitesimal pauses and canny modulations of tempo, color and dynamics create an air of spontaneous adventure. He reclaims the cadenza's magnificent audacity and evokes...
...binoculars that were handed out at the door (one idea that Symphony Hall should actually consider) the audience could take in the amazing passion of Lin's performance. The audience was so impressed in fact, that he even received an accidental roar of applause at the start of his cadenza, quickly hushed by Seiji Ozawa. Despite the faux pas in concert etiquette, Lin's phenomenal talent was appreciated with a standing ovation...
...binoculars that were handed out at the door (one idea that Symphony Hall should actually consider) the audience could take in the amazing passion of Lin's performance. The audience was so impressed in fact, that he even received an accidental roar of applause at the start of his cadenza, quickly hushed by Seiji Ozawa. Despite the faux pas in concert etiquette, Lin's phenomenal talent was appreciated with a standing ovation...
...Beethoven fit under his fingers less naturally. Although his prodigious gifts made for some hair-raising pianissimo, his playing lacked the requisite Schnabelian drive. He strove for a nearly pedal-free sound at times when more blurring would have been a relief, and he attached the first movement cadenza with all the grace of an angry farmer. The effect was wild, precipitous, unique--but out of place. The second movement demonstrated Schiff's peerless trill technique, while the third hurdled toward a deft close as leprechaun like as the diminutive pianist himself...
...Beethoven fit under his fingers less naturally. Although his prodigious gifts made for some hair-raising pianissimi, his playing lacked the requisite Schnabelian drive. He strove for a nearly pedal-free sound at times when more blurring would have been a relief, and he attacked the first movement cadenza with all the grace of an angry farmer. The effect was wild, precipitous, unique--but out of place. The second movement demonstrated Schiff's peerless trill technique, while the third hurdled toward a deft close as leprechaun-like as the diminutive pianist himself...