Word: violins
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Dates: during 2000-2009
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...structure confused, and some of Mozart’s most fascinating music sounded little more than boring. The group of soloists all played admirably. Kathryn E. Andersen ’07 and Brendan J. Gillis ’06, soloing in the “Sinfonia concertante for violin, viola, & orchestra,” communicated beautifully, handing melodies off to one another with facility and grace. Soprano Amanda Forsythe was terrific singing the aria “Misera, dove son!”. But pianist and composer Aaron L. Berkowitz, a second year student at the Graduate School of Arts...
...with a special birthday concert in which they will present his best-known works as performed by some of Harvard’s finest. The distinguished ensemble will accompany Kathryn E. Andersen ’07 and Brendan J. Gillis ’06 on the Sinfonia Concertante for violin, viola & orchestra, KV364: Allegro Maestoso. Both soloists are prominent members of the Harvard Radcliffe Orchestra and the Brattle Street Chamber Players. Aaron L. Berkowitz, a Ph.D. candidate in Music, who has played for such illustrious musicians as Misha Dichter and Joseph Kalichstein, will perform Piano Concerto No. 23, KV488: Adagio...
...CCOE quintet that played in Sanders reflected Darweesh’s pan-hemispheric aesthetic. In addition to a violin and cello (played by Hanna Khoury and Kinan Abou-Afach, respectively), the ensemble included an ‘ud (Kareem Roustom), a guitar-like instrument that is the predecessor to the European lute; a qanum (played by Xauen Music founder and director of CCOE, Hicham Chami), a trapezoidal stringed instrument akin to the zither; and a riqq (Karim Nagi), a handheld percussion instrument similar to the tambourine. Accompanying the instrumentalists were two vocalists, Youssef Kassab and Albert Agha...
...quintet launched into its first set of songs. Whereas Western composers sometimes write Arabic instruments or themes into their scores to lend them exotic “flavor,” Darweesh’s use of Western musical tropes is a true synthesis of styles. The violin and cello parts were not merely ornamental to their Arabic counterparts, but rather integral components of Darweesh’s sonic palette—Darweesh did not bridge the gap between Western and Arabic music, so much as he recombined elements from both traditions into a bold new aesthetic...
Walking into “Frank Stella 1958,” the special exhibition currently at the Sackler Museum, reminded me of the surprise I got when I heard one of my friends, who plays guitar in a punk band, playing Mozart on a violin. It wasn’t that the delicate strains of the violin concerto were completely unrelated to the straight-up, snarling chords of his punk songs, nor even that one was necessarily better than the other. It was just that, man, I didn’t know he could do that...