Word: mozartism
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Dates: during 1960-1969
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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...
Isaac D. Hurwitz '53, assistant concertmaster of the Hartford Symphony, and pianist Raymond Rendall, associate professor of music at Wesleyan, will perform in the Adams House lower common room at 8:30 p.m. Sunday. On the admission-free program will be sonatas by Mozart, Brahms and Charles Ives...
...take up a collection to pay expenses, raise money on a mortgage, sell 'Tom' into perpetual slavery, stop smoking for a year, give up tea, coffee and sugar, dispense with bread, meat, garden sass and such like luxuries-and then come and hear Jenny Lind." She sang Mozart, Weber, and Meyer beer, offset by such additional items as Comin' Through the Rye and The Last Rose of Summer. Presenting a little-known song from an opera called Clari, she immortalized Home, Sweet Home. Her voice spanned nearly three octaves, top ping out at G above high...
...what actually made the concert worth attending was two Serenades, the No. 10 of Mozart and a surprisingly refreshing one by the 16-year-old Richard Strauss. The Rondo of the Mozart and the bubbling lines of the Strauss were light and quite unforced, but the group held together only erratically. Forging players into a skillful ensemble is a slow and difficult process, especially at a concert in the Leverett Courtyard; possibly this group needs from Walker more tyrannical direction...
...Mozart hardly dazzled, either. As a result of perfunctory tuning, Kotin played the whole first movement flat; by the end, he had risen well above the average pitch around which the strings were scattered. The third movement, Rondo: Allegro vivace, didn't really suggest vivace. Every time the orchestra ventured away from the security of the main theme, it slowed down a little bit more...