Word: e-flat
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...expects of a novice students conductor; unfortunately, the sound lacked a matching professionalism. For example, the dynamics of the first and third movements ventured little beyond mezzo forte and forte; throughout, there was hardly any of the nuance that made Layton's performance of the Mozart Symphony No. 26 (E-flat) so pleasant. One could even argue that Biss's slow initial tempo magnified the introduction to the symphony disproportionately. Still, Biss was working with a strange orchestra, and his performance was a promising start...
Guest artist Victor Rosenbaum, one of the outstanding pianists of the younger generation, will perform the Mozart Sonata in E-Flat, K. 282; the Beethoven Sonata in E-Major, Op. 109; the Schubert Sonata in A-Minor, Op. 42; and the Webern Plane Variations...
...first recording in three years, Horowitz selected works of composers with whom he has long been identified-Chopin's Sonata No. 2 in B-Flat Minor, Rachmaninoff's Etude-Tableau in C Major and Etude-Tableau in E-Flat Minor, Schumann's Arabesque, Liszt's Hungarian Rhapsody No. ig. In all of them Horowitz triumphantly demonstrates that whatever it is that keeps him from the concert stage, it is surely not failing artistic power. The glittering, steely technique is still there; Horowitz can play the piano with a strength and a seething air of controlled violence...
...Michael Haydn and Leopold Mozart fans as well. Of all the pieces he plays, the toughest is the Brandenburg No. 2: in the upper range it soars to G above high C, and wise conductors almost always cheat on the trumpet part and make do with an E-flat clarinet or a soprano saxophone. As distinguished a musician as the Vienna Philharmonic's Helmuth Wobisch has been known to enlist a second trumpeter to negotiate the concerto's lower passages while he concentrated on the high ones...
Then Block took charge at the piano, and with Mozart's "Coronation" Concerto prompted Serkin and Bernstein, Mannes and Graffman and Szell and Firkusny to exchange pleased glances. "Let's hear Beethoven's Opus 27 in E-flat," asked Leopold Mannes from the balcony. Block then eased his way into the Beethoven sonata fantasy with a keen intelligence that paid heed not only to detail but also to essential unity. Displaying versatility as well as virtuosity, Block played a cadenza from a Tchaikovsky concerto and a Liszt sonata. Chattering excitedly, the judges reached a verdict...