Word: lipkind
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...Schellenberger, too, was poised throughout the program—and entirely in harmony with Lipkind. Her masterful arpeggiated chords in “Sonata for Violin and Piano in A Major (1886)” by Franck would put any other pianist in awe of her abilities. The light treble notes that introduced Debussy’s “Sonata for Cello and Piano (1915)” and the articulated, precisely abrupt rests of Anton Webern’s “Drei Kleine Stücke, Op. 11 (1914)” showed she was at home...
...only was the program brimming with the work of late-19th century and early 20th century masters, we were also privy to Lipkind’s brilliant arrangement and transcription work. Lipkind interpreted Alexander Scriabin’s “Romance for Horn and Piano (1890)” magnificently and fluidly, and, as Lipkind put it, delivered the piece “by both transcribing it and rewriting the ending...
...Lipkind also made modifications to Franck’s “Sonata for Violin and Piano in A major (1886).” Regarding the transcriptions that have been written by others, Lipkind expressed his distaste in the difficulty of moving from the register of a violin to that of a cello. He combated this problem by transposing the violin part down several octaves; the end result was flawless...
...program, I thought the performance could not have been more personally expressive and spiritual. I was wrong. After multiple bows, Lipkind and Schellenberger treated the audience to an encore of a Jewish prayer piece arranged for cello and piano...
...imitate what one can still hear in the synagogue today,” Lipkind said. His words rang true, as it was evident that the sounds coming from his cello were beyond notes; they were ethereal...