Word: mozartism
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Perahia's execution of the Mozart Piano Concerto No. 24 in C minor, while not dramatic, was very sweet, lyrical and expressive. Likewise, his entrance onto the stage was not flashy, but down-to-earth, as though he wanted to get straight to the business of making music. The concerto itself, composed in 1786, has an unusually symphonic style for the classical era; the only Mozart concer- to with both oboe and clarinet parts, it foreshadows the style of the next generation. Beethoven admired it immensely: upon first hearing the concerto, he cried to a fellow composer, "Cramer, Cramer...
...second and third movements he performed with a romanticism that was almost Chopin-esque in its style. But this particular interpretation of Mozart lost none of its charm. The woodwinds tended to rush in the excitement of the third movement, but in all the orchestra did an excellent job of accompanying Perahia...
...orchestra itself began its program with another piece by Mozart: the Overture to The Magic Flute. One of his last works, composed in the summer of 1791, The Magic Flute tells the tale of lovers in the struggle between good and evil in a magical world. The overture itself begins with a drawn-out progression of three chords, which add an overarching solemnness to the otherwise warm and lighthearted mood of the piece. Mozart develops his musical ideas in a straightforward way, referring only once to the music within the opera. Filling in for BSO Principal Guest Conductor Bernard Haitink...
...also an ordinary citizen, and I have my own interests and hobbies. For instance, I read Tang dynasty poems, Song dynasty lyrics and Yuan dynasty verses, and some of Dante, Shakespeare, Balzac, Tolstoy and Mark Twain. All of these give me great enjoyment. I also like to listen to Mozart, Beethoven, Schubert, Strauss, Tchaikovsky. And I listen to some of your famous American pieces. At the beginning of this year I read a book written by a Chinese on Mozart that related his music to the poetry of Du Mu in the Tang dynasty. I believe all fields...
Debussy's Preludes, Book One, comprised the entire second half of the recital. The generic eclectics of these 12 miniatures must have appealed to the amply-repertoired Pollini, who has recorded both Mozart and Stockhausen for Deutsche Grammophon. His technique was particularly well-suited to the fierce leaps and skips of the third prelude, "The Wind of the 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...