Word: concertos
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...fresh material keeps coming. Two years ago, Peter Martins drew on her restraint and musicianship in a delicate work, Rossini Quartets. Last week at the New York City Ballet, Jerome Robbins weighed in with a really fat part. In Memory of . . . , set to Alban Berg's elegiac Violin Concerto, is a highly dramatic work, more openly emotional than Robbins usually allows himself to be. In the role of a dying girl, Farrell adds another heroine to her gallery of lost ladies...
Ashkenazy takes an elegant approach to the cycle, caressing the music with an exquisite tone and spinning it out with an effortless technique that lets the music speak unimpeded. In the robust First Concerto and the rippling Second, Ashkenazy pays homage to the music's Mozartean wellspring in a clean, carefully articulated reading. The Third Concerto finds him in a more passionate, but still fundamentally classic, mood; the piece was, after all, written around 1800, while Beethoven's teacher Haydn was still alive. The revolutionary Fourth Concerto, in which the piano daringly speaks before the orchestra, gets an introspective, reflective...
Voila the Ethiopian famine, the perfect opportunity for Jackson 14 reapply himself to the cover of Time Life's magazines. Though aided by half songster Richie (who would write a ukelele concerto if he thought it would sell.) Jackson has overshadowed everybody else's contribution Prince's no-show was a blessing in purple disguise...
...years for premieres; among his best-known and least inaccessible works were his score for The Black Maskers (1923) and Symphony No. 1 (1927). A teacher and author, Sessions won two Pulitzers, a special citation in 1974 for the body of his work, and a second for his 1981 Concerto for Orchestra...
Both ballets are casual, debonair and refreshingly free of pretension. Gordon, whose own Pick Up Co. uses dialogue as well as tapes and movement in performance, manages to shift smoothly into the more formal vocabulary of classical ballet. Field, Chair and Mountain is set to a noisy concerto by the 19th century Irish piano virtuoso John Field (thus the Field in the title). In commissioning the piece, Artistic Director Mikhail Baryshnikov asked only that Gordon use a set, and Gordon came up with an inventive one. Executed with cheeky wit by Santo Loquasto, it unfolds from left to right like...