Word: rubato
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Dates: during 2000-2009
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...baton. In her subscription series debut with the BSO, Sung opened with Jean Sibelius’s “The Bard,” a little-known tone poem from the Finnish composer’s “dark period.” The exploratory rubato and ethereal runs in principal harpist Ann Hobson Pilot’s introductory solo were masterfully evocative of Nordic folklore, but a messy ensemble entrance quickly overran her lyrical interpretation. The minimalist dynamic range and bare orchestration of the piece, which should have constructed a spare yet meditative musical texture, only served...
...signaled the dreamy transition into a barcarolle-like segment, which he executed with seamless tempo changes and delightful subito pianos. The distorted, showy embellishments critics have used to label Lang as a talented but immature pianist were completely absent from this piece, for Lang’s use of rubato was liberal but never stretched to the point of mannerism. The pianist swept the sonata to a climactic end with a flurry of majestic octaves and runs.Lang next plunged into an aggressive performance of Béla Bartók’s Piano Sonata, Sz. 80 that was almost...
...sustained notes tugged at the audience’s heartstrings as she, playing heroine Tatiana, declared her love for the dashing Onegin. Throughout the performance, her slender hands remained mostly in a rest position, and she only occasionally engaged her body in physical expression of the music. Her expressive rubato allowed her voice to soar above the orchestra, but the musical lines could have been longer and more nuanced. Before the last note drew to an exciting end, a particularly enthused man seated in the first balcony shouted a fervent “Bravo,” as the rest...
...Lipkind told the story of György Ligeti’s “Sonata for Cello Solo (1948, 1953)” on his 1702 Bolognese violoncello in stylish fashion. The first movement, “Dialogo—Adagio, Rubato, Cantabile (1948),” opened with a pulled string that was vaguely reminiscent of my guitar-tuning days. However, Lipkind executed the note—and the rest of the movement—with confidence and extreme command. The continuation of the music explains how the composer has fallen hopelessly in love and is desperately trying...
...body became just as important as his arms.The more-meditative second movement gave him the opportunity to integrate more with the rest of the orchestra, smoothing out the soloist-orchestra division that had dominated the first movement. Yannatos led the orchestra through a stretched-out rhythm bordering on rubato as both foreground and background richly employed a range of colors in place of dynamics.It was in the third movement that Jackiw pulled out all the stops. Jackiw was able to play perfectly off of his fellow performers, although at times a perceptible synchronization gap widened between the soloist and orchestra...