![]() The somber Adagio, where Sharon Robinson excelled on cello, laments the recent death of his father and Polonsky evoked deep emotional texture here. The opening dotted rhythms of the Scherzo declaim the composer’s freedom of the heart to wander at will with form. ![]() The opening Allegro in sonata form appears to question, playfully, the form itself. 15 (1879) by Gabriel Fauré, who had his own distinctive, late Romantic sound, offers autobiographical musings as improvised diary jottings amid redolent reverie. On viola Milena Pájaro-Van De Stadt performed a few difficult passages while on piano Anna Polonsky conjured a range of moods from happy to fierce, yet it was the viola that was in the end both more fragile as well as fierce. A musical soundscape of dreams, as in French impressionist paintings, floats in molten aerial aesthetic with sumptuous subtle harmonies. For reliable information go to: Rebecca Clarke music history, which is a serious omission. , she does not usually appear in books about U.S. Although Clarke was born with American citizenship and lived much of her life in the U.S. While a successful public performer and composer, her compositions were sporadic. Clarke, a world-renowned virtuoso viola player. ![]() (Its first performance was at Aeolian Hall.) An impressionistic work influenced by Claude Debussy and Morpheus remains an important chamber work and its selection for this concert of difficult works to play added to the excitement of expanded horizons. Rebecca Clarke’s Morpheus (1917) for piano and viola may not be familiar to many concert attendees today, yet during Clarke’s lifetime, it was a well-known concert piece performed at Carnegie Hall in 1918. Jaime Laredo, Sharon Robinson, Milena Pájaro-Van De Stadt, Anna Polonsky
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