Word: concertino
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Dates: during 1970-1979
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...entrances of the previous Bach Society concert had disappeared, and the violins followed concertmaster Lynn Chang's example, sawing into their strings with a vigorous attack which was missing in the first concerts of the season. Chang, who is one of the Music 180 graduates, was joined in the Concertino (solo group) of the fifth Brandenburg by a capable Halley Sheffler on the flute and David Schulenberg at the Harpsichord. Schulenberg's rendition of the show-stopping harpsichord cadenza was textured like the score of a Broadway musical, and it evoked a ripple of whispered enthusiasm from the audience...
Chang led the concertino of the Corelli "Christmas Concerto" with violinist Robert Coalson and cellist Nestor Cybriwsky. The concerto is not particularly difficulty, but Chang and Coalson played with an enthusiasm and confidence reflected in their music. Unfortunately some very sour notes wafted out from the back rows of the violin section, somewhat spoiling the concerto's beautiful second movement...
...other two members of the concertino, flutist Barbara Jacobson and violinist Ronan Lefkowitz, were excellent in different ways. Jacobson was a model of reserve, barely moving as she played with a rich tone in the modern flute's lower registers. Lefkowitz, far more demonstrative, played the occasionally showy violin part with a good deal of flair. He communicates a sense of awareness of the music, suggesting he has thought about it and knows exactly the sound and effect he wishes to project...
...other styles. Last Sunday afternoon they showed themselves to be best at the music for which they were originally formed. The closing work of their program, the Bach Brandenburg Concerto No. 2, is often considered the finest example of concerto grosso writing. More often than not, its balance of concertino and ripieno forces is distorted to the point that the harpsichord and flute are never heard, the oboe, rarely, and the trumpet always...
...Philharmonia offered an intriguing contrast of styles, periods, and pieces. In the opening work, The Concerto Grosso, Op. 6 No. 1 of Corelli, Alexander Schneider, who conducted, doubled as principal violin in the concertino. The work went along smoothly, indeed brilliantly, but the wisdom of Mr. Schneider's decision to combine roles is dubious. Unfortunately, the orchestra had a tendency, especially in the first movement, to enter just a fraction of a beat behind him, a problem which would not have cropped up if he were not playing. Nonetheless, it was a fine performance, with especially good work by cellist...