Word: concertos
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...recalls. "I had to do it on my own without anybody's approval and with everybody's disapproval." Far from punishing her, Balanchine continued to give Gelsey the run of City Ballet's unparalleled repertory. She danced lead roles in his Symphony in C, "Rubies" in Jewels, Harlequinade and Concerto Barocco and in Robbins' Dances at a Gathering, Goldberg Variations and Scherzo Fantastique. She became a stellar member of one of the world's great companies...
...Boston University School of Music performance offers another season finale this week, in two concerts featuring winners of the annual Concerto/Aria Competition. On Thursday, Roger Voisin conducts the Boston Repertory Orchestra and School of Music vocal and instrumental soloists in Weber's Bassoon Concerto in F Major, Hindemith's Viola Concerto "Der Schwarendreher," and Berlioz's "Les Nuits d'Ete." The Friday program should be even more special, as Joseph Silverstein conducts the Boston Symphony Orchestra in Brahms' Violin Concerto in D Major op. 77, Chausson's Poeme for Violin and Orchestra op. 25, and Liszt's Piano Concerto...
...weeks after achieving a roaring success playing a Saint-Saens concerto with the Harvard-Radcliffe Orchestra, Roy Kogan was back on the Sanders stage Saturday night. This time he played Mozart's 21st piano concerto, K. 467, a work which lacks much of the flamboyance and virtuosity of the high French romantic style, and which is therefore much more difficult to bring off convincingly. As before, Kogan generated a great deal of excitement with his fluid dexterity and remarkable technique, but he also responded well to the subtler musical challenges of Mozart. Throughout the first two movements he demonstrated...
...using such devices as 106 acrylic "reflector" discs suspended from the ceiling and a huge vault below the stage. There are some minor, doubtless correctable difficulties. The bass is not quite rich enough. When Van Cliburn sat down on opening night to slam his way through his trademark concerto, Tchaikovsky's first, he was drowned out in one area of the hall whenever the orchestra joined in: his notes were blocked by the raised top of the Steinway. Not even Jaffe thought of everything...
Extensive improvisation by the pianist in any work invariably excites the audience and lets the soloist show off his virtuosity. Usually, rampant arpeggios and endless trills are well integrated into any piano piece and, in the case of a concerto, into the orchestral score. However, the pianist must also attempt to keep these improvisations in the context of the whole work rather than display them simply as a showpiece. Kogan succeeded in this regard Saturday in his performance of Saint-Saens's Second Piano Concerto. He handled the difficult solo parts of the work with consummate ease and sensitivity...