Word: lisztian
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...Plain." It was equally fun to watch him grab fistfuls of notes with such glorious abandon in "The Hills of Anacapri," the ending of which seemed contrived by Debussy to recall the final arpeggio of the earlier "Gardens in the Rain" from his "Estampes." Pollini's mastery of Lisztian technique was evident in the whirling "What the West Wind Saw," and his refined yet poetic sensitivity in "The Girl With the Flaxen Hair," which too often suffers from overwrought performances, made one wish he'd consider recording some Satie...
...performance of Liszt's second concerto, in A, where Yukiko Sekino '99, the winner of HRO's Concerto Competition, dwarfed her colleagues with her huge technique. Though her double notes left something to be desired (and whose don't?), her fearless and flawless octaves, the sine quibus non of Lisztian bravura, eradicated this quibble. A duet passage with principal cellist Steve Cho '97 was captivating, but the otherwise bland ensemble writing made it impossible for the orchestra to advertise itself. This is mostly Liszt's fault, but things would have improved if the others had played with even a fraction...
...superb musicianship and rare virtuosity: Chopin: 4 Ballades -- 4 Scherzi and Earl Wild Plays His Transcriptions of Gershwin (Chesky Records). Chopin's works vary widely in mood and tempo, yet Wild sustains the long singing lines that provide their pulse and shape. That singing -- with wit, warmth and Lisztian heroics -- defines Wild's Gershwin, especially his extended Fantasy on Porgy and Bess...
...Montevideo Symphony and the one-act opera Escenas Campestres, have been found in a private collection in Rio de Janeiro and have been purchased for the New York Public Library by Concert Pianist Eugene List. 'He was a real pioneer," says List. "His writing is sometimes Chopinesque, sometimes Lisztian, but always definitely American in flavor. It's scintillating, tuneful, fresh. It could have been written today...
...periodic intervals there have been little out bursts in these columns about the marauding vagaries of Serge Koussevitzky. There have been complaints, often justified, about thin Mozart tones being swollen into Lisztian voluptuousness, about batteries of double basses grinding out Bach fugues, about programs of Morton Gould and Samuel Barber. But, instead of picking our noses to find something to grumble about, let us realize that Serge Koussevitzky is a very fine conductor, the Harvard Glee Club and Radcliffe Choral Society is a very fine choral group, the Boston Symphony is a superb orchestra, and Beethoven's Missa Solemnis...