Word: shostakovitch
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This piece bears the influence of both Tchaikovsky and Liszt, and should accordingly be both effusive and dazzling. Under Previn, it was both, and he managed to keep it crisp all throughout. This control should make for a wonderful Shostakovitch's Eighth next week...
Bach Society Orchestra. Works by Mendelssohn, Shostakovitch and Tchaikowsky. Cellist Andres Diaz winner of the 1986 Naumberg International Cello Competition, will perform. Paine Hall, 8 p.m. $10 for general admission; $6 for students. Tickets are available at the Holyoke Center Ticket Office and at the door. The Concert. Featuring the RadcliffePitches, the Yale Whiffenpoofs and the HarvardKrokodiloes. Sanders Theatre, 8 p.m. $10/$12 forgeneral admission; $5/$7 for students. Tickets areavailable at the Sanders Theatre box office andthe Holyoke Center Ticket Office...
...international orchestra competition in Berlin, but you can judge its competence for yourself this Saturday night in Sanders Theater, when James Yannatos conducts a program of Debussy, Verdi, Copland and Schumann. The programs for the rest of the year aren't quite as wide-ranging, but watch for Shostakovitch's Symphony No. 5 in November and Schubert's Fifth Symphony in March...
...help his company along, Arthur Mitchell was forced to turn choreographer; almost by accident he has thus established himself as the most promising dance creator to emerge from the Balanchine ranks in recent years. Fete Noire, based on a Shostakovitch score, is a neoclassic Russian romp set in some imaginary imperial salon. At once crisp and buoyant, it demonstrates how well Mitchell has grasped the real secret of Balanchine's genius-the mastery of the logic and geometry of bodies in motion. By contrast, Mitchell's Rhythmetron is a throbbing, stylized Afro-Latin tribal ritual...
...first half of the program, this piece contrasted with the incredibly powerful Kodaly Te Deum. Kodaly achieves the same effect that is so exciting in much of Shostakovitch's music: a pounding rhythm carried over from a previous phrase into a huge, loud, added-note chord that floods the concert hall with a sound that feels like it's going to go through your whole body. Kodaly uses silence very effectively after these moments, much as a polished public speaker will pause after particularly emotional apostrophe...