Word: cellos
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Dates: during 2000-2009
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...Indeed, the music varied from the thin, attenuated notes delivered in Bohuslav Martinu’s “Variations on a Slovak Theme (1959)” to the pleasingly flamboyant pizzicato of Claude Debussy’s “Sonata for Cello and Piano...
...semi-circle, it was evident that there was more to the music than crescendos and legatos. Although Lipkind and Schellenberger were surrounded by shelves upon shelves of old, leather-bound books, the most significant narratives of the evening were made through the resonating notes of the piano and cello...
...Lipkind told the story of György Ligeti’s “Sonata for Cello Solo (1948, 1953)” on his 1702 Bolognese violoncello in stylish fashion. The first movement, “Dialogo—Adagio, Rubato, Cantabile (1948),” opened with a pulled string that was vaguely reminiscent of my guitar-tuning days. However, Lipkind executed the note—and the rest of the movement—with confidence and extreme command. The continuation of the music explains how the composer has fallen hopelessly in love and is desperately trying...
...with Lipkind. Her masterful arpeggiated chords in “Sonata for Violin and Piano in A Major (1886)” by Franck would put any other pianist in awe of her abilities. The light treble notes that introduced Debussy’s “Sonata for Cello and Piano (1915)” and the articulated, precisely abrupt rests of Anton Webern’s “Drei Kleine Stücke, Op. 11 (1914)” showed she was at home in front of the grand Steinway...
...modifications to Franck’s “Sonata for Violin and Piano in A major (1886).” Regarding the transcriptions that have been written by others, Lipkind expressed his distaste in the difficulty of moving from the register of a violin to that of a cello. He combated this problem by transposing the violin part down several octaves; the end result was flawless...