Word: e-flat
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...beginning and end of the last-movement setting of Psalm 150, with its plaintive Alleluia’s. Stravinsky reveals in this movement a personal side of his music that we rarely get to hear: the typical obsession with minor thirds (which is perfectly resolved with an E-flat to C modulation at the end), but also moments of rare beauty, such as a cryptic three-note motive (D-E-flat-B-flat) that he would use throughout the Symphony in C some 10 years later...
...second half of the concert opened with a moment characteristic of the whole performance; in the opening measures of the second movement of Strauss' three-movement "Sonata in E-flat Major for Violin and Piano, Opus 18," Perlman turned to the audience and raised his eyebrows expressively whilst playing the most beautiful melody-that subliminal expression on his face informed the feeling for the whole piece...
...concert ended with a series of transcriptions by Heifetz of some famous pieces, the highlights being the sprightly and light-hearted (yet extremely technical) "Rondo in E-flat Major" by Hummel, the moving spiritual "Deep River," and the audience's favourite, "It Ain't Necessarily So" from Gershwin's Porgy and Bess...
...emphasized by the liner notes, Le Sacre continues to challenge our imagination not only because of its dissonant sound but because Stravinsky destroyed "the tyranny of the bar line." From that famous thirteen beat F-flat and E-flat seventh polychord in the "Auguries of Spring" to the 3/16, 2/16, 3/16, 3/16, 2/8, 2/16, 3/16, 3/16, 2/8, 3/16, 3/16, 5/16 alternation of meter in the "Scarificial Dance," it's all about rhythm. Because rhythm is so dependent on tempo, it is particularly crucial that Le Sacre not be languished upon for its unique sound at the expense of its intricate...
...style was perfect for Strauss' moody Sonata in E-flat Major. This sonata is Romantic with a capital R and dramatic, alternating quickly between slow, cinematic melodies and passionate bombastic chords. Critics have often suggested that the eruptive Strauss sonata is more appropriate for a large-scale symphony orchestra than for violin and piano, yet the piece could not have been more perfect for Chang...