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Still, the program offered something educational even to the well-rounded listener. Metamorphosen played Grieg's Holberg Suite, Haydn's C. Major Violin Concerto with ChoLiang Lin, Ellen Zwilich's Prologue and Variations and Frank Martin's Petite Symphonie Concertante...

Author: By Daniel Altman, | Title: Metamorphosen Audience Yoophoric | 10/13/1994 | See Source »

Haitink, who had been conductor of the Concertgebouw Orchestra in Amsterdam for more than twenty years, led the BSO in a performance of the Prelude to the First Act of Wagner's Die Meistersinger von Nurnburg, the Sibelius Violin Concerto, and Brahms' First Symphony. Kremer joined the orchestra as soloist in the concerto...

Author: By Daniel Altman, | Title: Timid BSO Tantalizes at Tanglewood | 9/22/1994 | See Source »

...Sibelius concerto's first movement consists of a series of impressive solo passages interspersed with cascading tuttis and fine wind entrances. As the orchestra began, its glistening harmonics were accompanied by a low roll of thunder; it was raining hard by the third movement. Kremer played the beginning of the first lick a bit raggedly but was well on target by the time he handed the melodic line over to the orchestra. His second solo passage came off perfectly, with brilliantly intoned harmonizations...

Author: By Daniel Altman, | Title: Timid BSO Tantalizes at Tanglewood | 9/22/1994 | See Source »

...waltzes and marches and Treemonisha, his great last work. Berlin's analysis is always illuminating and expert; however, nonmusical readers may have trouble following his arguments, illustrated as they are by plentiful examples from scores. There are tantalizing references to such lost works as a symphony, a piano concerto and the opera A Guest of Honor, which was registered for copyright in 1903, although no copy of the score is known to exist...

Author: /time Magazine | Title: BOOKS: American Schubert | 9/19/1994 | See Source »

Brautigam offers sharp, pointed playing reminiscent of John Browning. Superior recording circumstances have allowed his cutting solo lines to ring with intensity. Chailly and the Concertgebouw supply restrained accompaniment that seems too intimate at times. The Piano Concerto, after all, does offer many more serious ideas than the Jazz Suites...

Author: By Daniel Altman, | Title: Shostakovich's Jazz Stands in a Genre of Its Own | 8/19/1994 | See Source »

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