Word: capriccio
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Dates: during 1990-1999
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Norris had his own little idiosyncrasies, too. As the soloist in the "virtuoso" Piano Concerto No. 1 in G Minor and the Capriccio Brillant, Op. 22, which together made up half of the program, Norris was the main event. He had obviously established a rapport with the music and was excited about performance. There were flourishes in his music and motions. At the end of a phrase he would sweep his arms up as if to gesture to the orchestra and say, "Now it's your turn." The piano concerto is one of those pieces that is supposed...
...heard, and this performance marked its Boston debut. The libretto of The Uncle From Boston has been lost, but it is always refreshing to discover and hear a composer's lesser known works, much like finding more sonnets by Shakespeare or short stories by Hemingway. The beginning of the Capriccio Brillant, Op. 22, was more lovely than brilliant. Short and sweet, it was one of Mendelssohn's three single movement pieces for piano and orchestra...
...begin a concert that was most remarkable for its many fine solos, the Harvard-Radcliffe Orchestra performed Rimsky-Korsakov's "Capriccio Espagnol," a piece that shows off every instrument in the ensemble. It is a virtuosic exploration of the possibilities inherent in its alborada theme, and not nearly as haphazardly composed as its title suggests. The Orchestra has never sounded better...
Concertmaster Salley Koo '97 led the other musicians with her clean and superbly projected performance. Principal clarinetist Michael Rescorla '96 and principal flautist Aimee Gallardo '98 followed suit, each tossing off a note-heavy solo part with flair. Beginning with the Capriccio's first cadenza, principal percussionist Mary Kissel '99 turned heads and made jaws drop with her superhuman ability to sustain a snare drum solo...
...style as an end in itself, and its delight in quotation naturally endears it to postmodernist taste. Sometimes it's tea-party Ensor, without the bilious satire; sometimes it's Rus sian ballet. There are traces of Elie Nadelman, Odilon Redon, Watteau, Hieronymus Bosch and an over-the-top capriccio of swimmers in some celestial spa titled Natatorium Undine, 1927. Her painting of a spring sale at Henri Bendel's, with ladies squabbling over the merchandise like angry hummingbirds, resembles a Pompeian grotesque translated into the 1920s. She liked caricature too. In the Cathedrals, the series of New York historical...