Word: sonata
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Dates: during 1960-1969
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...Saturday (3-5 p.m.) program at Matthews Common Room will be Sibellius, Four Legends, Opus 22; Mahler. Symphony no. 1 in D major; Piston. Three Pieces for Flute, Clarinet, and Bassoon; Thompson, Suits for Oboe, Clarinet, and Viola; Rieti, Sonata for Flute, Oboe, Bassoon, and Piano; and Jongen, Concerto, Opus...
...Recorded music schedule for Matthews Hall Common rooms is: Saturday afternoon, Bach's The Art of the Fugue; Corelli's Concerto Grosso in D major, Opus 6, no. 1; Vivaldi's Trio sonata in D minor, Opus 1, no. 12; and Stradella's Sinfonia in D minor. Sunday, Verdi's String Quartet in e minor; Tchaikovskii's Fatum, Symphonic Poem, Opus 77; Strauss's Symphonia domestica, Opus 53; and The Genesis Suite (Prelude by Schonberg, Creation by Shilkret, Adam and Eve by Tansman, Cain and Abel by Milhaud, Noah's Ark by Castelnuovo-Tedesco, Babel by Stravinsky, and The Covenant...
...program of recorded music Saturday in Matthews Hall common Room, 3-5 p.m., is Dvorak's Quartet in E-flat, Saint-Saens' Septet for String Quartet, Bass, Trumpet & Piano, Fernando Sor's Estudio 5, 12, 9, Minuetto from Sonata (Opus 22), Largo from Fantasia II, Rondo Allegretto from Sonata (Opus 22), Andante Largo (Opus 5, no. 5), Hugo Alfven's Midsummer Vigil, Swedish Rhapsody (no. 1, Opus 19), The Mountain King, A Ballet Pantomime (Opus 87), and Bloch's Schelomo...
Since the Variations, Copland's music has acquired a delicate, floating quality that appeared in his 1941 Piano Sonata and occurs frequently in this work. But it is interesting that to achieve this he uses several devices of his early period: grace notes, widely spaced registers, and bell-like tone...
...after intermission, with the playing of the final Sonata Opus 111, that Mr. Fischer really electrified the audience. His playing was percussive in the opening torrent of notes; he moved effectively from lyric to appassionato passages; his fingers flew over the keyboard in the long runs and octave passages. I was rather disappointed that he skipped the repeat of the first section, but one cannot expect everything; the remainder of his playing was more than satisfying. It is not easy to play the first section of Opus 111 at all, let alone well, and Mr. Fischer's excellent technique...