Word: cadenzaed
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...Choral Fantasy” started with a cadenza-like, improvisatory section for unaccompanied piano. Elkies’s dramatic opening begged for more dynamic contrast, but by no fault of his own. For logistical purposes, the top of the grand piano had been removed, which drastically reduced the projection of its sound into the audience. However, this shortcoming did not severely diminish the introduction’s effectiveness—especially since Elkies was very sensitive to the ends of his phrases, often tapering off in delicate pianissimos...
...notes were intense and pure, digging into the very heart of his Stradivari violin. The first movement, Allegro maestoso, was polished to the core. Every nuance had a purpose. Goto was even confident enough to gaze at the audience as his fingers seemingly played on their own.In an expansive cadenza at the end of the first movement, Goto effortlessly plucked left-hand pizzicatos and knocked off double-stops as if they were child’s play. The shorter second movement, reminiscent of opera, evoked a sense of tragedy. Where Goto’s violin used to be light, melancholy...
...joked onstage with Dr. James Yannatos, the conductor of HRO, and conversed with both the audience and musicians. In the middle of the opening piece, Mozart’s Third Violin Concerto, soloist Jonathan Gandelsman took the classic work in an entirely surprising direction. Instead of playing a traditional cadenza, Gandelsman switched to a distinctly Chinese theme. Playing over a sustained drone from the cellos and pentatonic bird-calls from the violins, his solo was a stark contrast what would be expected. Gandelsman had bent a note here and there during the piece—his first cadenza had sounded...
...leading expert on Mozart, was an excellent follow-up for anyone who took Literature and Arts B-52: “Mozart” that he taught last semester. His technical and musical skill enabled him to infuse the music with beautiful phrasing and even improvise stunning cadenzas on the spot. Although there have been numerous classical concerts on campus this year commemorating the 250th anniversary of Mozart’s birth, Levin truly steals the show in the performance, showcasing his extraordinary gift for making the music of Mozart come alive, especially after the spellbinding cadenza...
When the cello section of the San Francisco Symphony finished a particularly tricky passage in Ellen Taaffe Zwilich's new Symphony No. 2 during rehearsal last week, the rest of the orchestra burst into applause. What provoked the collegial accolade was a daring cadenza for ten instruments playing as one, a high-wire act that is one of the emotional peaks of Zwilich's aptly subtitled 'Cello Symphony. The musicians' reaction was not surprising: Zwilich, 46, who in 1983 became the first woman to win the Pulitzer Prize for music, has for some time been regarded by fellow professionals...