Word: cadenzaed
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...first set, as he plumbed the depths of Ornette's sophisticated composition, trying to build a series of convincing melodic statements on his alto sax. Redman ended the set back on tenor, first recapitulating the irresistably "bright melody of "Una Muy Bonita" and then into a long cadenza that displayed his considerable chops. After the cadenza, however, Redman led his group into another directionless modal...
...second movement of the concerto highlighted the orchestra's skills, as they played pizzacati remarkably in unison for close to the entire Adagio. Lin's treatment of the cadenza appeared to mention Schumann's Fourth Symphony, though it might have come unconsciously. He and Yoo then led the orchestra jovially through the Presto. The Haydn, though not the flashiest work written for violin and orchestra, benefited immensely from Lin's thoughtful and decorous performance...
...third solo part and cadenza. Kremer showed a pair of weaknesses. His violent charging at his violin with the bow occasionally gave his notes unsteady attacks. If the problem was due to excess energy, it's excusable: few violinists have so able a bow arm as Oistrakh had. In addition, Kremer's tone seemed to run sharp now and then. Perhaps he was rattled by losing a string from his bow during the lick...
...Andante Con Moto" (1992) began the evening. It is a series of 14 variations on the slow movement of Beethoven's "Appassionata" sonata, with an optional opportunity for an improvised cadenza before the final variation. The theme itself is not stated anywhere in the piece, and one catches only a few glimpses of it throughout--an occasional dominant seventh chord, or the five-note descending scale that concludes each half of the Beethoven movement. Rather than indulging in much direct quotation, Rzewski's variations preserve certain abstract qualities of the original. Beethoven's registral disjuncture, for example, is taken...
After 13 variations evoking in turn Bach, George Winston and Liszt, Rzewski plunged from a protracted Beethovenian trill into a truly staggering display of improvised fire-works for his cadenza. In a few minutes Rzewski demonstrated his command of Harlem stride bass, cartoonish sound effects, and Chopinesque fabric melody, while referring back to Beethoven just often enough to excuse his departures. The conclusion was a gradual rise from the lowest D-flat (tonic for the Beethoven) to the highest note on the keyboard, which was repeated more and more softly and less and less frequently until after a long rest...