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Topic: Capriccio for Piano and Orchestra

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In the News (Sun 21 Jul 19)

  Sleeve Notes - Liszt Piano Music, Vol 53b - Music for Piano and Orchestra - 2
After a restatement of the psalm by piano and winds a long development section ensues in which the psalm rhythm is often applied to the accompaniment of the opening material, culminating in a close with four mighty E flats from the depths of the piano.
Exchanging phrases between piano and orchestra is Liszt's starting point for the arrangement of the scherzo and the fugal exposition of the finale is left to the piano, with the orchestra joining gradually thereafter in a nicely calculated crescendo.
The piano enters for a brief cadenza leading to the lyrical contrasting melody which still forms part of the first subject group, and plays throughout the agitated transition to the second subject which is preceded by the first of Liszt's interpolated solos.
www.hyperion-records.com /notes/67403.html   (4241 words)

 Sleeve Notes - Liszt Piano Music, Vol 53a - Music for Piano and Orchestra - 1
In the version with orchestra, Liszt is happy to have the piano remain silent for the whole introduction, and he then introduces the soloist with a mighty outburst, and the theme of the introduction gives way to that of the Dervishes' Chorus (Beethoven's No 3), in which the orchestra gradually joins.
The coda begins with piano glissandos over the third phrase of the theme, after which the soloist is left to improvise until the end, since Liszt's score is blank in the solo part for the last statement of the first two phrases.
The reappearance of the orchestra indicates the movement proper, and a triplet motif borrowed from the Rondo di bravura leads to the full statement of the principal theme in E flat minor (and despite the variety of key signatures, this concerto really is in E flat minor rather than major).
www.hyperion-records.com /notes/67401.html   (3310 words)

 Ode to Joy   (Site not responding. Last check: 2007-10-16)
Capriccio for Piano and Orchestra is also known as Rubies, the second part of the Balanchine's 1967 Jewels triptych (after Emeralds, before Diamonds -- Laura Jacobs has a superb essay on the set in the March issue of the New Criterion).
Choreographed to Stravinsky's 1928-'29 masterpiece of glitter and wit for piano and (mostly) winds, it's a jazzy, circusy scherzo with dark overtones and a teasing sexuality.
There's a carnival couple who skip rope, ride horses, bicycle, tango, run in place; in their sportive second-movement pas de deux (Andante rapsodico), when the piano takes over, they dance too intimately, too knowingly, to be in love.
www.bostonphoenix.com /archive/dance/98/03/26/ODE_TO_JOY.html   (1459 words)

 Piano Recital by Many-faceted Musician Mikhail Pletnev Kicks off Encore Series
Famous for his breathtaking virtuosity that sees a true heir of his of the great Russian piano school, Pletnev, for his very personal interpretations and musical insights, has gained an exceptional position in the history of piano performance, being world acclaimed and at the same time inviting controversy.
His "Concerto for Viola and Orchestra" premiered in 1998 with Yuri Bashmet as soloist, and his arrangement of Beethoven's "Violin Concerto" for Clarinet and Orchestra, with Michael Collins as soloist, were recorded and received rave reviews, and his brilliant transcriptions of "The Nutcracker" and "The Sleeping Beauty" for piano solo are already very famous.
Tickets of Piano Recital by Mickhail Pletnev priced at $400, $300, $200 and $100 are now available at all URBTIX outlets, with half-price tickets available for senior citizens, people with disabilities, full-time students and Comprehensive Social Security Assistance Recipients (limited tickets for students and Comprehensive Social Security Recipients available on a first-come-first-served basis).
www.info.gov.hk /gia/general/200104/13/0412306.htm   (602 words)

 Andante / Stravinsky
Capriccio for Piano and Orchestra (Igor Stravinsky, piano; Walther Straram Orch/Ernest Ansermet, cond.
The only music in which I.S. didn’t have a hand (either grasping the baton or applying both to the keyboard) was the early- '20s Concerto for Piano and Winds recorded at Paris in 1943 by his son Soulima (1910-94) with a wind ensemble led by Fernand Oubradous.
Soulima (I.S.’s third of four children) also recorded the Concerto for 2 Pianos and Mozart’s C-minor Fugue, K.546, in 1938 with his father, with whom he toured widely before the war, and stateside for a shorter time afterward.
classicalcdreview.com /andanteis.html   (1093 words)

About the same time, Bronislav Huberman (The famous violonist, founder of the Israel Philharmonic Orchestra), who attended one of her concerts in Paris, announced that it was a once in a lifetime experience to meet such talent, and recommended that she be engaged as a soloist with the IPO.
She is a Professor and the head of the piano department at Tel Aviv University and has served on the Jury of such prestigious International Piano Competitions as the Arthur Rubinstein Competition, Vladimir Horowitz Competition, as well as the Dublin, Iturbi/ Valencia, Munich, Athens, Sydney, and Seoul Competitions.
Principal clarinetist with the Israel Philharmonic Orchestra from 1947 to 1964, he took conducting engagements with such ensembles as the Israel Chamber Orchestra and the Jerusalem Symphony Orchestra, and also performed widely and for many years with the Tel Aviv Quartet and in duo with Pnina Salzman.
www.doremi.com /PninaSalzman.html   (739 words)

 Los Angeles Philharmonic Association - Piece Detail
All the while in this introduction the piano is having a trilling time until it begins the movement proper with a percussive idea in the low bass (centering around G/B-flat) that gives rise to myriad adventures in which individual winds particularly are provoked into commentary and benign conflict with the virtuosic keyboard.
The piano opens the second movement with an at once exotic and arrogant pair of ornate measures, followed by a conciliatory wind passage.
Throughout the movement, a toccata-like keyboard texture exploiting repeated notes produces the effect of a cimbalom (a favorite instrument of Hungarian gypsies and one that Stravinsky was fond of).
www.laphil.org /resources/piece_detail.cfm?id=468   (710 words)

 THE ROMANTIC PIANO CONCERTO, Vol. 2 VoxBox [RW]: Classical Reviews- July 2001 MusicWeb(UK)   (Site not responding. Last check: 2007-10-16)
This was one of the first piano concertos to utilise the key of F-sharp Minor and is full of ideas also original for the time.
Written as a fantasia for piano and orchestra it is constructed on four themes - introductory theme, fortissimo theme, pianissimo theme, and piano theme.
If the orchestras were not top-flight they often played their hearts out for these sessions and a small city orchestra in Germany can be the match for much greater city orchestras outside Germany.
www.musicweb-international.com /classrev/2001/July01/romantic2.htm   (1703 words)

 Piano recital by Mikhail Pletnev - Hong Kong debut   (Site not responding. Last check: 2007-10-16)
He has appeared as soloist with conductors and orchestras of the greatest distinction in Russia, musical capitals in Europe and the States, in addition to his Far East tour in Japan, Korea and Taiwan.
As described by the musical critic, "Pletnev's musical refinement and expressiveness can only be compared with the playing of the greatest pianists from the recent and more distant past." Emphasizing for himself as belonging to the "great Rachmaninov tradition", Pletnev interpreted "music" as his "language" and "technique" as "a matter of freedom of speech".
In 1989, Pletnev established the first Russian orchestra not under the management of the state, namely the Russian National Orchestra, and gave its first public concert in Moscow in November 1990.
www.info.gov.hk /gia/general/199905/07/0506137.htm   (512 words)

She taught piano performance at the Prague Conservatory (until 1928) and was an accomplished musicologist, music educator, and writer on music.
A selection of her piano pieces was published by Klemm in Dresden [1882] and Barvitius in Prague, while some of her songs and choruses were published by Urbanek in Prague [1882 and 1900].
Piano compositions: Sonatina for Piano, Preludium for Piano.
www.kapralova.org /WOMEN.htm   (2154 words)

 Mikhail Pletnev
The Russian National Orchestra may not be the world's leading orchestra, but critics who suggested that Pletnev's play do not come close to Ashkenazy's versions are dead wrong.
Grieg wrote the seven Fugues for Piano EG 184a-g in Leipzig in 1861-62 as a student of the later Thomaskantor Ernst Friedrich Richter.
Pletnev recorded them on the piano, today's instrument, giving life to the rich musical universe of the composer which includes songs and dances of flamenco, processions, serenades, laments, early folk as well as court and church music.
www.cosmopolis.ch /english/cosmo12/pletnev.htm   (2486 words)

 Choice Ballet
Rubies is set to Stravinsky’s Capriccio for Piano and Orchestra, a piece that starts at a gallop and then accelerates.
The problem on opening night was that the dancers and the orchestra had not succeeded in reaching a meeting of the minds.
The explanation may lie in the astonishing fact that the company can afford only one complete run-through on stage with the orchestra, which is simply not enough; as a result, later performances may well be sharper.
www.citypaper.net /articles/102899/ae.dance.shtml   (385 words)

 Records International catalogue October 1998   (Site not responding. Last check: 2007-10-16)
1 and 2, Intermezzo for Viola and Piano, Violin Sonata, Improvviso for Violin and Piano.
The little piano works included here are rarities, which turn up in different guises elsewhere in the composer's output, or were written to commission, showing the composer's originality in a different field altogether, in his ingenious recreations of Moravian peasant dances, full of unexpected twists and turns and harmonic surprises.
Reinagle wrote four piano sonatas around 1790 while he was living in Philadelphia which are generally acclaimed as the finest surviving American instrumental works of the 18th century and which were probably the first piano sonatas written in America (they bear the influence of C.P.E. Bach's empfindsamer Stil and are in two or three movements).
www.recordsinternational.com /RICatalogOct98.html   (11710 words)

 March 20, 2001
Stravinsky's work for piano and orchestra are almost anti-concertos.
In the beguiling and stylistically eclectic Capriccio for Piano and Orchestra (1929) Stravinsky evokes, in his fractured way, both breezy Poulenc-like salon music and exotic modal Hungarian gypsy dance.
The orchestra played the Capriccio two years ago under Kurt Masur, its first performance of the work since 1973; it has never performed the other two.
www.listeningarts.com /music/ny_times_concert_review.htm   (571 words)

 Stravinsky Collection./Ansermet
With his passion for precision, he became, over time, one of the composer's most trusted interpreters, giving the premiËres of the Capriccio for piano and orchestra (1929, with Stravinsky at the keyboard) and the Symphony of Psalms (1930).
The two concerted works for piano and orchestra similarly stress line and color over spiky rhythmic projection; the music "require[s] a cool, percussive touch" according to the notes, but soloist Nikita Magaloff creates rich, layered textures by ferreting out and highlighting melodic lines.
The orchestra is very much at ease in the short, straightforward pieces filling out this disc, producing a variegated array of timbral blends.
classicalcdreview.com /isea.htm   (1290 words)

 International Piano Magazine, Nov 2003 | Russian National Orchestra
The orchestra was not yet a year old when all Gorbachev had accomplished was threatened by the coup of August 1991.
Walker set up the new orchestra to act and function as a non-profit organisation, complete with a board of trustees, two years before Russia had enacted a non-profit statute, and then established the Russian Arts Foundation in the US and the UK to secure Western support.
Surprised to hear about a Russian orchestra from an American, he too was quickly drawn in and eventually left the diplomatic corps to shepherd the orchestra in Moscow.
www.russianarts.org /rno/ipm1103.cfm   (5572 words)

 The UGA Symphony Orchestra Archive
Ravel: Concerto in G Major for Piano and Orchestra, 1st movt.
Gershwin: Concerto for Piano and Orchestra, 1st movt.
Casella: Concerto for Piano, Violin, Cello and Orchestra
www.uga.edu /music/ensembles/symphony2.html   (332 words)

 ttgapers.com store - Brahms: Piano Concerto 1; Schumann: Introduction & Allegro - Johannes Brahms, Felix ...   (Site not responding. Last check: 2007-10-16)
Concerto For Piano And Orchestra No. 1 In D Minor, Op.
Introduction And Allegro appassionate (Concertstuck) For Piano and Orchestra In G Major, Op.
Capriccio brillant For Piano And Orchestra In B Minor, Op.
www.ttgapers.com /ttStore-index2-asin-B0000027V5.html   (569 words)

 New York City Ballet | Repertory and Dancers   (Site not responding. Last check: 2007-10-16)
Rubies: Capriccio for Piano and Orchestra (1929) by Igor Stravinsky;
He wrote piano and chamber music as well as incidental music for plays such as Pelléas et Mélisande and Shylock; he composed operas and many songs set to the words of French poets of the late nineteenth century, especially Verlaine.
Igor Stravinsky (1882-1971), born in Russia, is acknowledged as one of the great composers of the twentieth century.
www.nycballet.com /about/rep_jewels.html   (515 words)

 Mikhail Pletnev | Russian National Orchestra
Pletnev was Gold Medal and First Prize winner of the 1978 Tchaikovsky International Piano Competition when he was only 21, a prize that earned him early recognition worldwide.
The risks of this step, even with Gorbachev's endorsement, were enormous and it was Pletnev's reputation and commitment that made his long-held dream a reality.
His unrivalled transcriptions for piano of Tchaikovsky's Nutcracker Suite and Sleeping Beauty were selected, along with his performance of Tchaikovsky's Second Piano Concerto and The Seasons, for the 1998 anthology "Great Pianists of the 20th Century" (Philips Classics).
www.russianarts.org /rno/pletnev.cfm   (498 words)

 andante boutique - igor stravinsky - composer & performer, volume ii   (Site not responding. Last check: 2007-10-16)
The deluxe three-CD set includes 1930s performances of the Symphony of Psalms, the Violin Concerto (with Samuel Dushkin), the Capriccio for Piano and Orchestra (with Stravinsky at the keyboard) and the "Dumbarton Oaks" concerto, as well as various violin/piano duos with Stravinsky and Dushkin from their tour repertoire.
Igor Stravinsky, Concerto for 2 Pianos: II Notturno: Adagio (Igor and Soulima Stravinsky, pianos)
For a time, Stravinsky's second son, Soulima, was among his father's favorite interpreters: certainly, this flinty, brilliant performance of the Concerto for Two Pianos suggests a unanimity of spirit, with Mozart's Fugue in C minor thrown in for good measure.
www.andante.com /boutique/Shop/index.cfm?action=displayProduct&iProductID=476   (1217 words)

 Gracenote: Albums - Stravinsky: Work for Piano & Orchestra
Capriccio for piano and orchestra: Allegro capriccioso ma tempo giusto
Movements for piano and orchestra: II Movements for piano and orchestra: III
Movements for piano and orchestra: IV Movements for piano and orchestra: V
www.gracenote.com /xm/pcd/contemp/25fc76e957d30f276ff67d73a052202b.html   (116 words)

 Arsis Press Compsers
Among her works are string quartets, piano solos, and other chamber music, as well as works for orchestra.
Her compositions include chamber works, a piece for orchestra, a cantata for chorus and orchestra, a piano sonata, choral works, and four compositions for band.
Her song cycle, Songs of Job's Daughter for soprano and piano (Sisra Publications, the name used by Arsis Press for ASCAP composers), was chosen as required repertory for sopranos in the 1980 Sterling Staff Competition.
www.arsispress.com /Composers.html   (6358 words)

 TIME 100: Artist & Entertainers - stravinsky
In Europe, Soulima is known as the foremost interpreter of his father's piano music--so much so that he has to beg impresarios to let him play something else.
A puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggios.
Heard this way, without the color of the orchestra, which is one of its greatest distinctions, the crudity of the rhythm was emphasized, its stark primitiveness underlined.
www.time.com /time/time100/artists/profile/stravinsky_related2.html   (1589 words)

 Criticaldance.com - Reviews - Kirov Ballet - Jewels
Stravinsky's Capriccio for Piano and Orchestra – the music for "Rubies" – is a marvelous shock juxtaposed against the restrained lyricism of the Faure music.
The pattern of swirling gems on the backdrop against the white costumes of "Diamonds" made it look like the ballet was being danced against a starry plain somewhere in heaven – an apt setting.
It was a joy to watch the company perform such a varied repertoire during the past two weeks – everything from one of its fabled story ballets, to some reclaimed Fokine, to some newly adopted Balanchine.
www.criticaldance.com /reviews/2003/Kirov-Jewels_20031025.html   (1479 words)

 Nikolai Lugansky
Bach n.1 (BWV 1052) with the Tchaikovsky Symphony Orchestra under V. Fedoseev.
Pletnev: Capriccio for piano and orchestra with the RNO under M.Pletnev
Pletnev: Capriccio for piano and orchestra with the RNO under M. Pletnev
www.homestead.com /lugansky/files/Tour.htm   (203 words)

 [No title]
Concerto per pianoforte e grande orchestra "Colosso" : Per una "persona pianistica e altri" personassi strumentali" basato sul romanzo "Koloss di Finn Alnæs, Op.
Concerto No 1 pour piano & orchestra, Op.
Concerto Grosso : Bassoon, Pianoforte & Orchestra, Op.
www.notam02.no /nmi/kataloger/pia7.html   (224 words)

 International Piano Archives at Maryland, UM Libraries
A recent SYMPOSIUM CD (1309) is self-described as “the complete solo [Bach] piano recordings (1923-1931)” but this is not correct; it omits two Preludes and Fugues.
Stravinsky’s piano recordings include his own Capriccio for piano and orchestra, his 1925 Serenade in A, his Piano Rag Music, and the 1932 Duo Concertante with violinist Samuel Dushkin.
An important “discovery” of piano archeologist Allan Evans, this major pupil of Ignaz Friedman is represented by only about two-and-a-half hours’ worth of performances, mostly recorded privately or off-the-air.
www.lib.umd.edu /PAL/IPAM/bgsz.html   (2952 words)

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