Word: concerti
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Dates: during 1990-1999
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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...
...fourth movement, an Air, Grieg mixes his lyricism with the staid and screne qualities reminiscent of Corelli's Concerti Grossi. Unfortunately, the viola section began to lose their intonation as they brought forth the Air's long lines. The quickly paced Rigaudon brought the group back into synch, though, and allowed Yoo to show off his own virtuosity as solo violinist...
...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...
...rich and globular tone, but more often than not in this recording it acts as an obscuring miasmic veil, rather than a complement to the strings. He has an extremely heavy left hand and a matching right foot on the sustaining pedal. His efforts are more appropriate for piano concerti than for these subtly textured chamber works...
...solo parts made me think he was playing cadenzas for some Romantic concerti; when the rest of the continuo (which they might rightly be called) come back in, you're left wondering where the rest of the orchestra went. In the fervid parts of the Schumann, their sound had none of the immediacy...