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Perahia's execution of the Mozart Piano Concerto No. 24 in C minor, while not dramatic, was very sweet, lyrical and expressive. Likewise, his entrance onto the stage was not flashy, but down-to-earth, as though he wanted to get straight to the business of making music. The concerto itself, composed in 1786, has an unusually symphonic style for the classical era; the only Mozart concer- to with both oboe and clarinet parts, it foreshadows the style of the next generation. Beethoven admired it immensely: upon first hearing the concerto, he cried to a fellow composer, "Cramer, Cramer...

Author: By Felicia Wu, CONTRIBUTING WRITER | Title: From Mostly Mozart To Precise Prokofiev: Gripping the Audience | 11/14/1997 | See Source »

...second part of the program made for a strange coincidence: that same evening, the BSO performed both the overture to The Magic Flute and a Mozart piano concerto. But if you missed hearing Freshman Concerto Competition winner Andrew Park '01 because you were at Symphony Hall for Murray Perahia, you may have missed...

Author: By Matthew A. Carter, CRIMSON STAFF WRITER | Title: Lehmann Leads a Magical MSO | 11/14/1997 | See Source »

Park's Harvard debut (Mozart's ninth piano concerto, in E-flat, K. 271) was stunning, in part because it didn't require some blatantly virtuosic vehicle. When a fellow who played the Rachmaninoff Second at the age of 14 decides to gamble on his musicianship more than on his technique, it is doubly impressive...

Author: By Matthew A. Carter, CRIMSON STAFF WRITER | Title: Lehmann Leads a Magical MSO | 11/14/1997 | See Source »

...soloist of a concerto, the string quartet is a curious innovation, placing an entire choir of instruments against the orchestra. This form poses some practical problems: the challenge is making the soloists truly stand apart from the orchestral strings. The concerto traditionally accomplishes this in three ways: alternation of solo and orchestral passages; dynamic, registral, and rhythmic isolation; and use of the instrument's individual tone color. This last method, in the case of the string quartet, is the hardest: the quartet's tone color is easily blanketed by the larger orchestral strings. The genre of concerto depends upon contrast...

Author: By Christopher T. Ariza, CONTRIBUTING WRITER | Title: Colorful HRO Performs Streamlined Premiere | 11/7/1997 | See Source »

...interaction between the orchestra and the quartet, however, too often failed to achieve the kind of dialogue expected of a concerto. Certainly this expectation can be abandoned. Yet even without it, the piece was often too homogeneous, the sense of forward motion and development too difficult to discern...

Author: By Christopher T. Ariza, CONTRIBUTING WRITER | Title: Colorful HRO Performs Streamlined Premiere | 11/7/1997 | See Source »

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