Word: conductors
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Dates: during 1970-1979
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...last years, the great cellist was not an active conductor of the great orchestras, as he might have been. He taught, he directed and performed in the Festival Casals held near his home, he made occasional appearances elsewhere--and even these activities came only after Albert Schweitzer had convinced him that he should not merely protest fascism, but should create even while maintaining his protest...
...brilliant pianist, and proved it throughout the piece. From the opening ritornello, introducing all the themes, he provided the orchestra with terrific energy which did not lapse in the entire first movement (the longest Beethoven ever wrote). The recapitulation was a great moment of artistry--both pianist, conductor, and orchestra demonstrating the origin of the word "concerto" in the Italian "to strive with". Each section of the orchestra was at its best at the end of the first movement...
THERE WERE striking contrasts apparent in last Friday night's three concertos at Kirkland House--contrasts in tone, color, ensemble, period, and most obviously in performance style. Gerry Moshell led a diverse program of Bach, de Falla, and Tchaikovsky. As a conductor, he has proved again that one need not be limited to a specialty to produce creditable performances. He was aided in varying degrees by the soloists...
...seemingly by accident a melody found its way into the oboe part. The movement is atypical of de Falla and slightly reminiscent of Poulenc. The first and second movements are far more percussive with frequent marcato chordal passages. Moshell and Wolff, their earlier roles reversed, were here soloist and conductor. The breakdown of the harpsichord precluded any fair judgment of the piece or its performance...
...point at which the flow reversed and Disney's iconography began affecting high art can be identified almost to the frame: it happened when, in Fantasia, Mickey Mouse clambered up on the (real) podium and shook hands with the (real) conductor Leopold Stokowski. High and low art collapsed into one another. It was inevitably Mickey who made Stokowski more of a star by the handshake, not the other way round. The gesture made Pop art possible and, after a gestation of nearly 20 years, it duly arrived in a flurry of mice: Roy Lichtenstein is said to have happened...