Word: e-flat
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...final, best known works.The opening piece—Mozart’s Symphony No. 39—suffered from slight problems with the orchestra’s ensemble. Shaky starts, mismatched lines, and rough endings of phrases were minor, but noticeable in the first two movements of the E-flat major symphony. Despite the few early stumbles in the performance, the BSO did not fail to deliver on charm and grace, particularly in the third movement. Levine drew out long lines ascending a hearty scale in the minuet. The clarinet solo featured in trio section easily captured the sweet, dance...
...program began with a trio comprised of Alex Y. Shiozaki ’09 on violin, Kathryn S. Austin ’09 on cello, and John M. Sullivan ’09 on piano playing Ludwig van Beethoven’s “Piano Trio in E-flat, Op. 70. No. 2.” After the piece, Previn offered criticism of the performance, with both compliments and suggestions for improvements. Besides calling the trio “absolutely wonderful,” he also offered some finer points, such as where to accent certain notes...
...final piece of the evening was Ludwig van Beethoven’s “Symphony No. 3 in E-flat Major, Op. 55.” The symphony is a narrative depicting the phases of life in four movements. Particularly illustrative was the second movement, “Adagio assai,” which aims for the harmonies and rhythms of a funeral march. The various solos in the wind section evoked the solemn organ part in a funeral mass. Following this somber movement, the orchestra moved easily into the uplifting third movement and finale...
...best present for Ichioka High School's 800 students is the presence of Sydney Symphony's principal tubist, Steve Rosse, out on the gym floor. With the Australian musicians joining ranks with the school band, blond-haired Rosse is conducting the Chaconne from Holst's Suite No. 1 in E-flat. But on its first run through, the rousing march is deemed too restrained. "Lawrence, have you got some advice for the clarinets here?" Rosse calls out to the Sydney Symphony principal. Rosse is even more assertive when it comes to the tuba section. "I want them to pronounce...
...concert comprised two well-chosen pieces, Schumann’s Trio No. I in D minor, a relentlessly shape-shifting work, and Schubert’s Trio in E-flat Major, Opus 100, which was Schumann’s inspiration. Both works demand virtuoso performances from each player, but provide ample opportunities for the trio to showcase their famous ability to cooperate...