Word: concertos
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...same dogmatism he criticizes in Adorno. His failure is a failure to listen to the music on its own terms. He imposes his tonal expectations on works that have a different internal logic. He points triumphantly to the Bach chorale quoted at the end of Berg's Violin Concerto, without recognizing it as a historical allusion like those he found in Stravinsky and Eliot. Berg used tonal devices frequently for certain kinds of effects, but rarely as a basic principle of his music...
...Young Person's Guide to the Orchestra," especially during the unnerving exposure of its long section of solo variations for each instrument. Debussy's "Iberia" brought out the HRO's characteristically rich, warm sound and some beautiful wind solos, and its supporting part in Mozart's Second Horn Concerto was cleanly accented and clearly phrased...
Mozart's Second Horn Concerto is a thematically and harmonically uninteresting work, and soloist Charles Kavaloski--principal horn with the Boston Symphony Orchestra and HRO alumnus--did nothing to liven it up. His tone and pitch were flawless, but his interpretation was deadpan and uninspired. The third movement is written as a spirited march, but Kavaloski played it like an exercise and looked as though the monotony of it all were putting him to sleep. "Iberia" is too flashy and difficult a work to do justice to at 1 a.m. It was the only truly entertaining work on the program...
THERE IS NO better occasion than a birthday to pay homage to a great composer, and in honor of Beethoven's 204th, the Bach Society Orchestra played an all-Beethoven concert last Saturday evening. Chosen from Beethoven's seven concertos and nine symphonies, the Violin Concerto in D. Opus 61 (1806), offered a change of solo instrument after performances of piano concertos in the past two concerts, and the Symphony Number Eight in F, Opus 93 (1812), was simply the only one that could be managed by the small 43-man orchestra...
Ronan Lefkowitz, soloist in the Concerto, impressed the audience with his mature, contemplative interpretation, which was delivered with such liquid phrasing and soothing tone that the emerging performance created a sense of reverence for the work, which the audience did not expect to feel. The first movement was played slowly, almost ponderously, but with careful pacing and calm control so that it moved with inexorable continuity. At the movement's highpoint, Lefkowitz displayed dazzling virtuosity in the intertwining, unbelievably intricate Kreisler cadenza. The audience was fascinated and broke into applause after the first movement. The third movement Rondo picked...