May 5, 1991 |
Serge Prokofiev's nominal big year--he was born 100 years ago--has brought no major recorded or scholarly revelations. But then there may be nothing of a sensational nature to reveal: no lost, great operas (no great operas, period), no clarifying Urtext of some heretofore inscrutable symphony. The surprises of 1991 have involved refreshing views, from unexpected sources, of well-known or under-appreciated scores.
April 11, 1988 |
One could hardly be surprised at the warm welcome given Nathaniel Rosen at Santa Ana High School on Saturday evening. After all, the California-born cellist, who a decade ago captured the gold medal in the Tchaikovsky Competition, has brought his consistently accurate, inspired music-making to Southland audiences dozens of times during the past quarter-century. His vehicle on this occasion was Haydn's D-major Concerto.
April 9, 1988 |
With his eyes shut tight in concentration and his deep breaths launching the long arcs of his phrases, cellist Nathaniel Rosen was a model of the Romantic artist in his recital Thursday in the Fine Arts Concert Hall at UC Irvine. And it was Romantic music that brought out the best in Rosen and pianist Nina Scolnik in a mixed program that ended in a letdown with pure showpieces and trivia. In Beethoven's Sonata No.
November 26, 1987 |
Ricci, Rosen and Rodriguez sounds like a hip, multiethnic law firm. The trio, however, is a musical one, of contradictory, ultimately potent, qualities. The virtues of the ensemble--Ruggiero Ricci, violin; Nathaniel Rosen, cello; Santiago Rodriguez, piano--were made very clear in a canny program at Ambassador Auditorium Tuesday evening. The trio surrounded familiar Shostakovich and Dvorak with not-so-familiar Beethoven. It was in the opening Beethoven--the Trio in E-flat, Opus 1, No.
May 25, 1987 |
A contrasting pair of octets for string and winds constituted the bill of fare for Saturday's Chamber Music/LA Festival presentation at the Japan America Theatre. The 1958 Hindemith Octet--whose performance on this occasion was dedicated to the memory of Lawrence Morton--is both brainy and accessible, humorous, too, in the pudgy, learned fashion of the composer's last years.