Word: concerti
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TELEMANNIA. The Harvard Baroque Chamber Orchestra (HBCO) performs an evening of G.P. Telemann’s colorful and brilliant multiple concerti for several instruments. One of America’s only undergraduate baroque orchestras, the HBCO brings these vivid works to life again, featuring Jon A. Daniels ’03, recorder, Na’ama Lion, baroque flute, Justin Haynes ‘03, viola da gamba, Brian K. Lee ’03, baroque violin and Seth Ament ’03, baroque cello. Directed by Robert Mealy ‘85. Tickets are $10, $5 for students...
...world against each other in a “rigorous and comprehensive examination of every facet of each contestant’s musicianship and technical proficiency.” Twelve semifinalists are chosen to play new works and chamber music, and six finalists perform two concerti with an orchestra, before the winners are awarded with cash and concert engagements...
...difficult to imagine that the Evgeny Kissin who performed to a packed audience at Symphony Hall the other night was the same pianist who wowed audiences 17 years ago at the age of 12 with his performances of the Chopin concerti. Child prodigies burn out, fail to live up to the impossible standards set for them and become unmarketable. Kissin, however, has emerged as an artist of incredible maturity who also happens to possess a technique of such polish and precision it makes one want to either practice 10 times harder or give up the piano entirely. Presented as part...
Later came Levinson's brilliant performance of the Mozart Piano Concerto No. 20 (K. 466). This is one of the few Mozart concerti in a minor key. Of it, Levinson says, "I chose it because, of all the Mozart concerti I have played, it is the most challenging for me...I can't understand it in any other way than as a piece for orchestra and piano." Nevertheless, from the moment he touched the piano keys after the orchestra's brooding introduction, the audience was captivated by the beauty and sensitivity of his style. The orchestra's tone initially seemed...
...exceptionally clear double-stops, and his performance was technically close to perfect. Though his tone lacked some of the strength of the century's great violinists, Lin added just the right amount of time and accentuation to his playing. His level of expressiveness, while it sometimes falls short in concerti by late Romantics like Sibelius and Saint-Saens, matches the temper of Classical works precisely...