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He genuinely loves the audio of Dinos Constantinides, and it displays.

Mr. Nikkanen also informed the viewers that he was actively playing Mr. Constantinides’s violin, which lent an supplemental poignancy to his efficiency. Pianist Maria Asteriadou, a drive in her personal appropriate, was the best collaborator, and their stunning Idyll for violin and piano , LRC 147 (1994) was the highlight of the evening for this listener.

Yet again, regretably, subsequent choices emerged as is effective that ought to have been omitted. The by-product parts «in the design of» Beethoven and Brahms, Sonata for violin and piano (A Beethoven), LRC 13b (1946) and A Brahms for violin and piano, LRC 13a (1946), would not have been skipped if omitted, even with Mr. Nikkanen’s great performances.

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There is just a lot more than enough real Beethoven and Brahms to listen to devoid of listening to imitations (with rare exceptions), particularly on such a lengthy system. Distinguished Concerts Worldwide New York (DCINY) offers The New music of Dinos Constantinides. DCINY, Dan Wright Photography. Two will work motivated by Percy Bysshe Shelley’s poem Mutability closed each and every fifty percent.

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The initial, String Quartet No. Moderato, was an eighteen-moment journey of funereal despondency, with echoes of Chopin’s Funeral March hovering about, which sent the viewers joylessly into intermission.

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The second, Mutability Fantasy for alto saxophone and piano , LRC 66(1979 rev. It meanders about and just seems to cease rather than essentially ending. There have been no curtain phone calls and no assembling of all performers on stage for a closing bow. It created for a considerably less than excellent presentation (and trace: it was not Shelley’s fault).

This listener, an seasoned and avid concertgoer, still left both of those puzzled and vexed. Picture how the lay listener need to have felt.

This ought to be resolved and not recurring in the potential. Mr. Constantinides for just one justifies improved. AGP Agency New York Provides Péter Tóth in Review.

Péter Tóth, pianist. Weill Recital Hall at Carnegie Hall, New York, NY. Sunday, October nine, 2022. Throngs of tunes enthusiasts this Sunday traded afternoon solar for a )Though the exquisite and softspoken presenter Adam Gyorgy could barely be listened to around the commotion to introduce the concert, he spoke glowingly from the phase about his friend Mr. Tóth, for causes we would quickly learn. By the way Adam Gyorgy is a high-quality pianist himself, whom this listener experienced the pleasure of reviewing back in 2011 – so with him, Mr.

Tóth, and some other folks, the pianistic talent in the hall was approaching what may possibly be termed «important mass. » As for Péter Tóth, the printed software lists some of his essential prizes (together with from the Franz Liszt International Piano Competitions in Budapest in 2001), as nicely as recordings and concerts, but far more biographical information can be discovered at his website, petertothpianist. com. In addition to the credentials and brilliance that we have come to assume from youthful prizewinners, we heard new music-producing of accurate enthusiasm and intelligence as very well as profound perseverance. The Chapel of William Inform from Années de Pelerinage ( Several years of Pilgrimage ) made a grand opening, a noble tribute to the famous hero in a battle for independence – and as resonant in modern turbulent environment as ever.

Mr. Tóth captured its declamatory electricity to a tee, shaping its phrases with conviction and fantastic gradations of tone. This was not the blitz of brilliance that the uninitiated may well hope at a Liszt recital but instead the musical meditation of Liszt the dreamer. Waldesrauschen (or Forest Murmurs ) followed flowingly as a balm – a fantastic programming decision, and just one nicely suited to the corridor piano with its prosperous middle register and rather glassy higher sign-up. The efficiency was a design of equilibrium and handle. The much more sizeable performs arrived upcoming, beginning with Funerailles , and it was below that the expressive array and electricity of this pianist grew to become very clear – as properly as his qualified pacing.

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