Word: concertino
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...other styles. Last Sunday afternoon they showed themselves to be best at the music for which they were originally formed. The closing work of their program, the Bach Brandenburg Concerto No. 2, is often considered the finest example of concerto grosso writing. More often than not, its balance of concertino and ripieno forces is distorted to the point that the harpsichord and flute are never heard, the oboe, rarely, and the trumpet always...
...Philharmonia offered an intriguing contrast of styles, periods, and pieces. In the opening work, The Concerto Grosso, Op. 6 No. 1 of Corelli, Alexander Schneider, who conducted, doubled as principal violin in the concertino. The work went along smoothly, indeed brilliantly, but the wisdom of Mr. Schneider's decision to combine roles is dubious. Unfortunately, the orchestra had a tendency, especially in the first movement, to enter just a fraction of a beat behind him, a problem which would not have cropped up if he were not playing. Nonetheless, it was a fine performance, with especially good work by cellist...
...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...