Word: capriccios
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Dates: during 1970-1979
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...harpsichordist, Angel.) As musical forms go, the Baroque suite or partita was in its old age when Bach decided to have the final word on the subject. He not only included every kind of dance movement previously used (saraband, gigue, minuet) but also introduced some that had not been: capriccio, rondeau and scherzo. The French style of ornamentation, so essential a part of this music, is something Harpsichordist Igor Kipnis has long since mastered. His mordents, appoggiaturas and other embellishments have the ring not of frivolity but, as is proper, indispensability. The overall interpretations have a breadth and power...
...minimum of bel canto fireworks and intimate orchestration as Mozart scored it. Venetian operas now returning to the international repertory were first revived here only a decade ago under the direction of Musicologist Raymond Leppard. Glyndebourne's current showpieces are the neglected conversational operas of Richard Strauss, Capriccio and Intermezzo. They were staged for the lustrous Swedish Soprano Elisabeth Soderstrom under Administrator Moran Caplat's dictum of "hiring people we know and exploiting them at what they want to do." To succeed retiring Musical Director John Pritchard, Glyndebourne is bringing in Conductor Bernard Haitink. His crisp baton imparts...
...over the years from underexposure. Yet here are four tone poems that most Tchaikovsky buffs will not know. The Storm is windy stuff at best and deserves its obscurity. But Fatum (Fate) and The Voyevode have an orchestral touch and programmatic flair that approach the popular 1812 Overture and Capriccio Italien. And The Tempest, written four years after Romeo and Juliet, is one of the composer's grandest scores. Conductor Inbal, an Israeli now in his second year as head of the Frankfurt Radio Symphony, puts it all into a surging dramatic frame...
...head at seven. When she was nine, her teacher wrote down one of her songs, which was played on the ra dio. Delighted at hearing her own music, she started writing it out herself and at 14 produced her first symphonic work. The New York Philharmonic performed her Capriccio for Piano and Orchestra and the Israel Philharmonic premiered her piano concerto. Although many women composers feel that developing their talent leaves no room for domesticity, Ran is married-to a jazz musician. It annoys Ran that on divulging her own profession, people sometimes say, "Oh really? How cute...
...something of an ogre in Libman's eye, so is Columbia Records. Not only did Columbia credit two recordings to Stravinsky (Capriccio for Piano and Orchestra, 1968; Danses Concertantes, 1971) when in fact Craft had conducted them in the composer's absence, but it began taping more and more of the rehearsal sessions in which Craft would drill the orchestra before his older colleague took over. Libman raises the possibility that some of these Craft efforts found their way into the final "Stravinsky" recordings when the tapes were later edited...