Word: soloistic
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Dates: during 1960-1969
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David Avshalamov, the soloist in Milhaud's Percussion Concerto made the opening piece fun to watch, pulling one instrument after another--including a dilapidated Fourth-of-July noisemaker--from a cache under his row of drums. His engaging performance made it hard to concentrate on the music, and it was just as well, for musically the piece is quite dull...
...Pianist Peter Serkin, musical nirvana is being scrooched up in a recording studio retaping and re-retaping portions of some concerto. Like Glenn Gould, Serkin, 19, is one of the new strain of virtuosos who play beautiful music but in few other ways resemble the traditional concert soloist. He is totally indifferent to audiences, abhors the personality cult, is convinced that performers get in the way of the music, and that the only way to play is in the quiet privacy of the recording studio, where perfection is the only reality. "Listening to music," he says, "should be the most...
Having studied to be a soloist, he resents the ignominy of sawing away with the masses. He shares with other string players the conviction that there is something unfair about having devoted a lifetime to conquering his instrument when other musicians have mastered theirs in only a few years. High-strung, persnickety, he raises potted plants and an ulcer...
Another composition, Momente, featured an orchestra plus chorus and soloist who, among other things, snapped their fingers, scraped their feet, giggled and whispered lovingly (Stockhausen confesses that he was in love when he wrote the piece). One musician poked a gong with drumsticks while another "played" the organ with the palms and backs of his hands. Stockhausen declared that Momente was still unfinished and, to the dismay of some listeners in the audience, added that "some day it will be played all evening...
...excellent group of soloists and a nicely balanced program made the second concert of the Bach Society Orchestra even more successful than the first. Mozart's Bassoon Concerto, which opened the concert, was a delight. Soloist Jackson Bryce's tone was full and rich from the bottom to the top of his range, his phrasing graceful, and his technical control impressive. He played the romantic cadenzas pensively, entrancing the audience. Conductor Daniel Hathaway controlled the orchestra tightly, following Bryce's phrasing and balancing him nicely...