Word: sonata
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...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...
...Sonata Opus 110 began auspiciously. Mr. Fischer's playing fulfilled two of Beethoven's three descriptions; it was cantabile (the melody line was beautifully brought out), it was con amabilita, yet it fell short of the molto expressive playing called for. Later the lyric and tranquil sections of the piece were handled with more feeling and fidelity to the manuscript. But the more declamatory passages suffered from excessive percussiveness, which often resulted in the submerging of the melody. Indeed, the entire first part of Mr. Fischer's recital displayed his lack of the tremendous ability required to meet the frequent...
...slow movement lacked nuances of expression, and the final fugue was marred by a memory lapse, which, though not a fatal flaw in itself, may have caused the pianist's failure to inject the called-for nuovovivente. Still, the tight-knit cluster of highly emotional notes which closes the Sonata was very impressive...
...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...