Word: pianos
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Dates: during 1990-1999
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...Carmen Zapata, Baxindine has designed a languid, hauntingly lovely set of melodies to which several of the characters sing their poetry--Yerma's dream-monologues, a shepherd song by Victor, a complex six-part song by the village washerwomen--as well as incidental music. Exquisitely performed by Baxindine on piano and Marianne McPherson '01 on flute (filling in for regular Lori Sonderegger), the music fills the space of Old Library and combines with the delicate shifting of the light and the dreamlike lyricism of the poetry to create an atmosphere of dreamlike and rare beauty...
...time a dancer lands from one of his prodigious leaps, the ungainly lengths of rubber tubing strikes a haunting note against the stage floor--the dance as a whole creates a melody. The effect is startlingly beautiful--it's a little watching Tom Hanks dancing on the giant floor piano in Big, except infinitely less chessy and more thrilling...
Even on a rainy Friday afternoon, the Box Office lines at Symphony Hall stretched long with people eager to hear the Boston Symphony Orchestra and its guest soloist, piano virtuoso Murray Perahia. Despite these trying circumstances, the excellent concert made the trip to the BSO well-worth its efforts...
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...
...first movement has an unusual, slightly ear-jarring opening, and quickly develops all its themes at once. The orchestra sometimes seemed to overpower the soloist, but the fault may have been with the piano itself, which had a muddy quality that was not conducive to fortissimo passages or soaring clarity of sound. Perahia performed his own cadenza, which displayed a wonderful range of emotions and beautiful nuances...