Word: toccatas
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...Scarlatti sonatas and Schubert impromptus that sometimes verge on eccentricity, and of Beethoven sonatas and Schumann fantasies that often threaten to collapse beneath their own structural weight. The highlight of the set is his 1965 Carnegie Hall concert, with a nervous Horowitz skirting disaster in the opening Bach-Busoni Toccata, Adagio and Fugue in C Major before righting himself and going on to give one of the most thrilling live performances in the history of recorded sound. Another impressive recital is the 1968 television concert, which features Horowitz's best, most graceful reading of Schumann's gentle Arabeske as well...
...costumed, in Memorial Church. The church lights were dimmed and a screen erected on the altar so the audience could see the performers at work. Edward Jones, the Gund University organist and choirmaster and curator of the University Organs, began the evening with J.S. Bach’s famous Toccata and Fugue in D Minor. Jones performed the impressive piece at an atypically brisk pace, but did a fine job all the same.Tamar H. Grader ’10 continued with the Prelude in G Minor from Bach’s second Well-Tempered Clavier. The piece was short...
...Overstatement Diabolique.” Beginning with a low bass rumble, it quickly erupted into fiery, insistent repetitions of the titular motif. Prokofiev reemerged later on the program with Nora I. Bartosik’s ’08 spirited performance of his “Toccata,” opus 11. Unfortunately, the mediocrity of the piano itself detracted from all the performances—and Bartosik’s was no exception. Despite her clarity and a good sense of timing, Bartosik still battled the piano’s unresponsive upper register, which gained some audience sympathy. Prokofiev...
...film is anchored around lead character Jimmy “Fingers” Angelelli (Keitel), a classical pianist and debt collector for the mob. In the opening scenes, he ecstatically plays a Bach toccata in his New York apartment, then meets with his raspy-voiced mobster father for his next assignment. The film traces his descent into criminality as the divisions in his character lead to the destruction of his dreams...
Despite the brilliance of Kissin’s playing later in the evening, the recital got off to a somewhat shaky start with Bach’s Toccata in C Major, BWV 564, originally for organ but transcribed for solo piano by Ferrucio Busoni. This is perhaps the closest we will ever get to hearing Kissin play Bach, and one could hear why he has not made unadulterated Bach a part of his performing repertoire. He is clearly most at home with the romantics, and even this romanticized version of Bach felt awkward and rigid. The opening prelude is marked...