Word: soloistic
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Dates: during 1990-1999
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...Jordan Hall at the New England Conservatory (NEC) on Sunday, March 1, the Berlin Symphony Orchestra bestowed the rare gift of an encore performance upon its audience. Brought to the NEC in the midst of the 1997-98 BankBoston Celebrity Series, the orchestra, with conductor Joseph Silverstein and piano soloist Derek Han, already possessed a well-packaged program of Brahms, Mendelssohn and Schumann--one could not have asked for a more fitting embellishment than a bit of Beethoven...
Whoever said that strength comes with numbers would have been completely wrong about the Bach Society Orchestra (BSO). Although small in number, Bach Soc proved to be a valiant orchestra with its rich tones reverberating throughout Paine Hall last Saturday. Along with guest soloist Jonathan Russell '00, the chamber orchestra treated the audience to a delightful performance...
Eric Tipler '99, conductor of the BSO, communicated with the orchestra and Russell so skillfully that not only was Russell presented as a guest soloist, but during the interludes, the Bach Soc seemed a soloist by itself. Ever so delicately, Russell and the orchestra started the Adagio, the orchestra gently backing up Russell's beautifully fragile tone. A soul's love song, the Adagio, became Russell's song, putting heartfelt emotion into each note as he rocked gently back and forth to the music. What was most beautiful about this movement was the way in which Russell sustained the upper...
However, the night was only a third over. The orchestra, seemingly nervous for the Variaciones Concertantes by Alberto Ginastera returned for this piece that treated different parts of the orchestra as soloists. A cello and harp started the piece, Tipler not even lifting his conducting stick for this performance. A surreal beginning with the resonance of the chords, this duet between the two instruments was a mysterious love song, only to be interrupted by a loud explosion from cello soloist Chris Thornton `01 that cunningly brought in the rest of the orchestra...
Each of the twelve variations featured one part of the orchestra as a soloist in this creative piece, such as a powerfully emotional viola solo by Sarah Darling `01, vibrant with chords and trills that built up tension. More solos came along throughout variations including a morning song by the oboe and bassoon, while the noticeable act of taking off the string mutes presented a disturbing trumpet and trombone variation, and led off to others such as the solo violinist, hornists and the return of the cello and harp. A lively end with a piccolo solo created a warlike effect...