Word: orchestra
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Dates: during 1990-1999
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...being branded a child prodigy, performed in two concertos. Andreas Haefliger, a Mozart specialist, was the pianist in another. Jaime Laredo, darling of countless Sony recording projects, conducted the Brandenburg Ensemble and joined Josefowicz as a soloist. All the repertoire was light and bright and ideally suited to the orchestra...
During high school, he lived "about five minutes from the Quad" and had played in the orchestra for the Harvard-Radcliffe Gilbert and Sullivan Players...
...they have performed it annually since 1854), Bach's Mass in B Minor and Verdi's Requiem. Aside from making history, H&H has taken interesting steps in actually bridging musical history, bringing the idea of a "historically informed performance" to Boston audiences since 1986 when the orchestra fell under the artistic direction of Christopher Hogwood. The objective of historically informed performance is to perform music under the conditions in which it was originally performed. Some say this concept is in direct defiance of technological musical progress, making historically informed performance controversial, as musicological controversies go. The performers all play...
...comedic plot, replete with anticipated marriages, star-crossed crushes, and a character named Cherubino. Like the opera, the overture too is a classic. It is a sweeping, theatrical piece with sudden dynamic changes and deft technical work in the string section, all of which were handled perfectly by the orchestra. The effect produced by the period instruments on a piece normally performed by a much larger orchestra was interesting; the thin, pure sound of the violins juxtaposed with the raw yet perfectly controlled sound of the winds and brass showed tight classical finesse...
...second Mozart piece, the Violin Concerto in G Major, featured Harvard's own Daniel Stepner. Stepner is in his eleventh year as concertmaster for H&H and is a member of many chamber ensembles in Boston. Once again, the orchestra played with a spare precision that complemented the brilliant music and Stepner's clear, light tone. At times, his tone seemed almost too thin, but his low notes were startlingly dark and rich. The cadenzas began tentatively, though they always progressed into intricate virtuosic passages rich with finely wrought ornamentations. The solo passage in the Adagio movement was especially memorable...