Word: indjic
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...EUGENE Indjic stepped jauntily onstage Tuesday evening at Sanders Theater and presented his musical credentials for the first time before a Harvard audience. The recital included works by Beethoven and Chopin that are among the most demanding in the standard piano repertoire, and local piano wonks had been worrying ever since the fiiers appeared on the house bulletin boards about where Indjic would get the strength to bring them all under control...
...clear, though, from the very first phrase of Beethoven's knotty Op. 111, that the performance would in no way resemble a wrestling match, and that technically Indjic was more than the man for the task. He played through the Chopin--six selected Etudes and two Ballades, in F major and F minor--with no sign of discomfort and though he visibly steeled himself before launching into the strenuous "Appasionata," he seemed to gather a second, or perhaps third wind and afterwards played two sparkling Debussy encores...
Labelled the "musical highlight of Winterfest," Tuesday's Boston Symphony concert marked the first appearance of a Harvard undergraduate as soloist, pianist Eugene Indjic '69. His performance certainly justified the honor; an achievement even more impressive considering the piece, the hall, and the conductor. Indjic chose to play Brahm's Piano Concerto No. 2, one of the largest and most formidable of piano works. Aside from its extreme technical demands, the concerto presents a challenge of organization; most critically, of pacing and uniting the sprawling first movement, a problem of drama as well as form. The last three movements, while...
When assessing a musician, the impressions of a single performance may be misleading, especially when the restraints of an orchestra are involved. Yet Indjic is obviously an artist of great promise, with strong, sure hands and a sound musical imagination. His approach to the Brahms concerto reflected the precision and fidelity of today's younger school of pianists, though occasionally suggestive of Gilels' savagery (in the first movement) and Richter's coloristic indulgences (in the first movement) and Richter's coloristic indulgences (in the third and last). In his best moments, Indjic displayed a facility ranging from unerring power...
...merits of Indjic's showing were his own; the contributions of conductor Erich Leinsdorf fell rather short of the inspirational. While visibly concerned with keeping orchestra and soloist together, he allowed them repeatedly to part company, primarily in the second movement. Orchestral climaxes seemed halfhearted, and the solo playing (that of cellist Jules Eskin) almost mediocre. For all his apparent courtesy, Leinsdorf did little to assist the pianist in matters of detail, and in several instances appeared to intimidate Indjic into hasty exits...