Word: concertos
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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...
...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...
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...
...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...
...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...