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...Kodaly Sonata for Cello Solo Holden Chapel...

Author: By The crimson arts staff | Title: ARTS FIRST CALENDAR | 5/2/2007 | See Source »

...Post-Romantik” did result in the marriage of profoundly emotional points, ranging from the raging bass notes of Martinu to the delicate, cradling treatment of the piano notes of César Frank’s “Sonata in A Major (1886).” The “stuck” moments of the music definitely enhanced the emotional depth of Romanticism with modern additions that ushered us into this musical “transition” genre...

Author: By Lee ann W. Custer, CONTRIBUTING WRITER | Title: ARTSMONDAY: 'Post-Romantik' Pleases Houghton | 3/18/2007 | See Source »

...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...

Author: By Lee ann W. Custer, CONTRIBUTING WRITER | Title: ARTSMONDAY: 'Post-Romantik' Pleases Houghton | 3/18/2007 | See Source »

...Schellenberger, too, was poised throughout the program—and entirely in harmony with Lipkind. Her masterful arpeggiated chords in “Sonata for Violin and Piano in A Major (1886)” by Franck would put any other pianist in awe of her abilities. The light treble notes that introduced Debussy’s “Sonata for Cello and Piano (1915)” and the articulated, precisely abrupt rests of Anton Webern’s “Drei Kleine Stücke, Op. 11 (1914)” showed she was at home...

Author: By Lee ann W. Custer, CONTRIBUTING WRITER | Title: ARTSMONDAY: 'Post-Romantik' Pleases Houghton | 3/18/2007 | See Source »

...Lipkind also made modifications to Franck’s “Sonata for Violin and Piano in A major (1886).” Regarding the transcriptions that have been written by others, Lipkind expressed his distaste in the difficulty of moving from the register of a violin to that of a cello. He combated this problem by transposing the violin part down several octaves; the end result was flawless...

Author: By Lee ann W. Custer, CONTRIBUTING WRITER | Title: ARTSMONDAY: 'Post-Romantik' Pleases Houghton | 3/18/2007 | See Source »

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