Word: pianos
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...virtuosos that began with Liszt and flowered before World War II with the "Golden Age" pianists--such legends as Paderewski, Hofmann, Godowsky and Rachmaninoff. Like them, Wild produces gorgeous sounds at any speed or volume, possesses vitalizing musical instincts and revels in the kinetic and sensual possibilities of the piano: its potential to evoke the grandeur of an orchestra and lyricism of a singer...
...recital, consisting primarily of 13 works by Brahms, Liszt and Chopin, among them Brahms' Rhapsody No. 2, Liszt's Ballade No. 2 and Chopin's Ballade No. 1. Wild created ravishing mini-dramas of these demanding, emotionally expansive scores. He has just released a new CD, 20th & 21st Century Piano Sonatas (Ivory Classics...
When discussing the piano, Wild often refers to the orchestra and to opera. Asked about his long musical phrases, the extraordinary range of tone colors he commands or his uncommon ability to bring out the difficult inner voices in complex scores, he says, "That evolved from years of orchestral playing and accompanying singers. I was really hearing and absorbing colors and voices, and I worked hard to reproduce that enormous range of color and variety...
...Anton Webern's Vier Stcke, op. 7, a work the composer wrote in 1910 under the influence of his teacher, Schoenberg. These pieces reveal how quickly Webern embraced his teacher's concept of a completely atonal music, which had only fully materialized a year earlier with Schoenberg's Three Piano Pieces, op. 11. Webern's pieces, however, already point to a more abstract atonality and are characteristically Webernesque in their brevity and obsession with detail. Schulte and Winn played the faster movements especially well, again showing a real sense of musical unity...
...Three Interludes (1996) of Richard Wilson '63, served as a substitute for a Milton Babbitt piece that was to have been premiered at the concert (apparently Babbitt could not finish the piece in time). The interludes comprise two moderate-tempo movements and a scherzo-like middle movement. The piano accompaniment is harmonically inventive, but the violin line sometimes suffers from a lack of development. Still, Schulte and Winn played the piece with accuracy and enthusiasm...