Word: trilled
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Dates: during 1990-1999
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...strove for a nearly pedal-free sound at times when more blurring would have been a relief, and he attached the first movement cadenza with all the grace of an angry farmer. The effect was wild, precipitous, unique--but out of place. The second movement demonstrated Schiff's peerless trill technique, while the third hurdled toward a deft close as leprechaun like as the diminutive pianist himself...
...strove for a nearly pedal-free sound at times when more blurring would have been a relief, and he attacked the first movement cadenza with all the grace of an angry farmer. The effect was wild, precipitous, unique--but out of place. The second movement demonstrated Schiff's peerless trill technique, while the third hurdled toward a deft close as leprechaun-like as the diminutive pianist himself...
...harder to present the music in an engaging and expressive manner. That extra oomph was lacking in the Bach Soc's standard, somewhat unoriginal interpretation of the symphony. The most lyrical moments sometimes came across as a bit too brisk and deliberate--as, for example, in the famous cuckoo trill bridging the second and third movements. Tipler's choice of tempi was a little mystifying, especially in the second movement, where Beethoven's idyllic brook sounded more like a flooded cataract. There were times, however, when the sheer beauty of the music soared and the peaceful, spiritual emotions shone through...
...where a two-note third was the subject of extensive development. Isolated events in the winds, often based upon a motif of rolling scales up and down, set off punctuation in the brass and strings. At the tranquil end of the movement, the drumbeat returned with a soft flute trill. The wind soloists were all more than competent...
After 13 variations evoking in turn Bach, George Winston and Liszt, Rzewski plunged from a protracted Beethovenian trill into a truly staggering display of improvised fire-works for his cadenza. In a few minutes Rzewski demonstrated his command of Harlem stride bass, cartoonish sound effects, and Chopinesque fabric melody, while referring back to Beethoven just often enough to excuse his departures. The conclusion was a gradual rise from the lowest D-flat (tonic for the Beethoven) to the highest note on the keyboard, which was repeated more and more softly and less and less frequently until after a long rest...