Word: concertos
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Norris had his own little idiosyncrasies, too. As the soloist in the "virtuoso" Piano Concerto No. 1 in G Minor and the Capriccio Brillant, Op. 22, which together made up half of the program, Norris was the main event. He had obviously established a rapport with the music and was excited about performance. There were flourishes in his music and motions. At the end of a phrase he would sweep his arms up as if to gesture to the orchestra and say, "Now it's your turn." The piano concerto is one of those pieces that is supposed...
...Australians are coming! The Sydney Symphony Orchestra sails into Boston's Symphony Hall to mesmerize New England with what The Evening Sun promises will be a "highlight of Boston's performance season." The program includes Koehne's "Elevator Music," Beethoven's "Piano Concerto No.2 in B-flat Major," and Richard Strauss's "Symphony domestica." 8 p.m. Symphony Hall, 301 Massachusetts Ave., Boston, 482-6661, Tickets...
...Berklee College of Music's Concert Wind Ensemble gives A Tribute to John Corley. Corley, the conductor of the MIT Concert Band for 51 years, is retiring after this season. Also appearing is Ivana Lisak, who will perform Stravinsky's "Concerto for Piano and Winds." 8:15 p.m. Berklee Performance Center, 136 Mass. Ave., Boston, 747-2261, Tickets...
...What do we do with this thing called jazz?" It's generally agreed by now that George Gershwin, whose centennial is being celebrated this week, gave not one but two answers to this question better than anyone else--by taking jazz upmarket with his Rhapsody in Blue and Piano Concerto in F Major, and by weaving it back into folklore with Porgy and Bess...
...gentle deconstruction of Lush Life--the heart of the album is a series of tunes featuring Keezer in an all-star trio setting with bassist Christian McBride and saxophonist Joshua Redman. The lack of a drummer to knit things together in the usual way, along with Keezer's provocative, concerto-like arrangements (his accompaniment can be even more interesting than his solos), suggests a kind of jazz version of Baroque counterpoint. Three cuts feature a breathy Diana Krall on vocals; two others nibble on the airier edges of fusion with an expanded cast of electronic and acoustic musicians. Miraculously...