Word: sonata
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Wednesday, August 15: 8 p.m. Theatre - Chamber Music Concert Nova Arte Trio with Graffman & Dwyer. Prokofiev: Flute Sonata, Op. 94 - Mozart: Divertimento K. 563 - Brahms: Piano Quartet...
...piano, and with Mozart's "Coronation" Concerto prompted Serkin and Bernstein, Mannes and Graffman and Szell and Firkusny to exchange pleased glances. "Let's hear Beethoven's Opus 27 in E-flat," asked Leopold Mannes from the balcony. Block then eased his way into the Beethoven sonata fantasy with a keen intelligence that paid heed not only to detail but also to essential unity. Displaying versatility as well as virtuosity, Block played a cadenza from a Tchaikovsky concerto and a Liszt sonata. Chattering excitedly, the judges reached a verdict in 15 minutes, and this time Michel Block...
...repertory that I wouldn't otherwise have bothered with. There was a piece composed for the contest by a young composer named Pirumov that was pretty tricky, and I may keep it in my fingers for a while. But there were also pieces like the Tchaikovsky Sonata (in G Major) that are awfully long for their content...
Warmed up by the opening Bach Partita No. 5 (G major), Hellman played Beethoven's Sonata Op. 78 with delightful clarity. This oddly structured little sonata has two movements, both allegro, preceded by four measures of 'adagio cantabile.' The harmonies and motives of these four measures contain the thematic material of the following two movements in embryonic form. Hellman saw to it that those materials flowered. Judging Beethoven's instruction, 'Allegro ma non troppo' aright, he chose a properly delberate tempo, then, at the appropriate spots, took liberties with it. In the second movement, he went beyond the bounds...
...vigor and accuracy of the concluding two movements of Schumann's Sonata No. 2 in G Minor, Op. 22, however, were the evening's technical highpoint. In the Scherzo (Molto presto marcato). Hellman maintained a push, a drive, which testified to real stamina. The final Rondo (Presto) alternated diving attacks with lyric interludes, and Hellman polished off the sonata with, as ever, controlled, smooth strength...