Word: concertino
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Dates: during 1960-1969
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...program containing but one of his works, which then has to be appreciated in isolation. But here was a veritable smorgasborg of Ives, ranging from the Grieg-like First Quartet (performed by string orchestra) to the more modernistic songs and the enigmatic Unanswered Question for strings, solo trumpet, and concertino of woodwinds. The audience had the rare opportunity of experiencing Ives' music in all its ambivalence: intense and earnest yet caustic and derisive, ardently Schumannesque yet aggresively modern and American...
LEOS JANÁCEK: CONCERTINO FOR PIANO (Crossroads). Among the latest additions to the fast-growing U.S. catalogue of Janáacek's works is this four-movement suite for piano with six instruments, which enter by ones and twos to sass the piano and one another. Not top-drawer Janácek, but nonetheless vigorous and jazzy with its insistent themes, bold fistfuls of chords and thumping rhythms. Josef Pálenicek is the pianist...
...second and final movement, the orchestra passively receded, as the piano charged ahead impulsively in a passionate recitative, interrupted now and then by a concertino (three winds, four strings) that Carter likens to "Job's friends, who sympathize and comment." After one final free-for-all, the concerto ended with a quiet, reflective passage by the piano, signifying, says Carter, "the alienation of the individual from the misguided mass." The score rumbled and shook and shouted in constantly shifting tempos and atonalities and astonishingly original-and difficult -rhythms. Most striking was Carter's technique of "swamping"-building thick...
Edmund Haines: Concertino for Seven Solo Instruments and Orchestra (Oklahoma City Symphony Orchestra, Guy Fraser Harrison conducting; Composers Recordings, Inc.). A high-spirited, multi-gaited piece that has its moments of surrealist shiftiness and of sheer pyrotechnics. One movement-the third-stands out with a lovely, brooding string solo. Expertly rendered by the first-desk men of the orchestra...
Holst's First Suite for Military Band has a few attractive folk tunes but moves along with commonplace ostinatos and harmonies; Clifton Williams' Concertino blusters with some excitement and nothing more. And the empty pomposity of William Latham's Proud Heritage makes one proud of nothing at all. The performances, nonetheless, were clean and the band's sound maintained that peculiar vitality which good wind playing must have...