Word: cadenzaed
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...Mendelssohn String Quartet contributed to the excellent rendering of the polyphony. The upper-register work of the 'cello in the first movement and the brief 'cello solo of the second movement were both particularly remarkable. This solo leads into an extended passage for the quartet alone, a cadenza of sorts, featuring some of the most demanding parts of the work. The arrival in the third movement was a particularly moving example of the successful combination of quartet and orchestra. At a slower tempo and accompanied by the low strings, the quartet, in flowing independent melodies, produced perhaps the most expressive...
...Kissel succeeded in making not only the instrument but the entire room sing with a resonance of unprecedented duration. After a contrasting section in the upper register, compositionally disappointing in Abe's almost banal use of functional harmony, the return to the opening led seamless into an improvisation, a cadenza of sorts, by Kissel herself. Here, at her virtuosic best, an intense web of rhythm and polyphony was created, Kissel all the while playing with the utmost sensitivity to the independence of voices and dynamic contrasts...
...band made an abrupt transition in tempo and mood as Redman began a long cadenza to preface the ballad, "What's New?" Here his very slow, almost imperceptible vibrato and airy, floating tone were vividly apparent. He played several motifs in different octaves, never once hinting that he might be performing at the extreme registers of his instrument. After the drums made a discreet entrance, and the delicate melody had been presented, McBride picked up a bow and displayed a facet of his amazing versatility as he coaxed a lush, sustained solo from his instrument...
Shaham's treatment of the first movement cadenza was precise, relaxed and completely effective. Unlike most cadenzas which depart from the main theme to highlight the performer's virtuosity, Mendelssohn's provides the development that leads the movement to its end. The orchestra drew momentum from Shaham's graceful interpretation. It is difficult to say, however, whether it was this passion or sheer accident that caused conductor Seiji Ozawa to throw his baton into the cello section shortly before the end of the movement. The piece was nonetheless otherwise seamless (and an obliging cellist returned Ozawa's baton shortly after...
...that Zacharias began so auspiciously--his first movement sounded more like a walk in the park than the heartfelt and dignified statements of Schnabel, Kempff or Fleisher (though, to be fair, he stoked some embers in the cadenza that turned to flame in the third movement.) And not that the Tanglewood audience had attended so many concerts--they clapped sheepishly after the first movement, and many elderly among the crowd could be heard talking, giggling or loudly removing the plastic wrap from hard candies during the performance...