Word: concertino
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...Pianist Oscar Peterson, Trumpeter Dizzy Gillespie and Singer Ella Fitzgerald. Serious composers continue to find stimulation in jazz; this month will see the U.S. premiere of a work by Swiss Composer Rolf Liebermann, a kind of concerto grosso in which the Sauter-Finegan band will act as jazz concertino to the Chicago Symphony's long-haired tutti...
Guitar Recital (Luise Walker; Epic). Solo works by such bygone masters of the classical guitar as Fernando Sor and Francisco Tarrega and a three-movement Concertino for Guitar and Orchestra by the contemporary Brazilian composer, Guido Santorsola, accompanied by the Vienna Symphony under Paul Sacher. The big work is ideal for records, where the quiet colors of the solo instrument can be clearly heard and its gently modern effects fall pleasantly...
...jazzy Concertino for Piano and Chamber Orchestra by Walter Piston reached a peak of musical quality, performance, and balance. Unlike many pianists, Robert Freeman did not make a fetish of hard-driving rhythms. Instead, he imparted a lyrical feeling to even the bounciest passages which toned down the score's over-hectic elements and gave the listeners a sense of proportion that otherwise might have been lacking...
...Concertino for Piano and Chamber Orchestra, arranged for two pianos, drew the loudest applause of the evening, but perhaps that was because Mr. Piston himself was at one of the pianos. The music's substance was unclear--the themes undistinctive, the dissonances meaningless, and the two-piano arrangement not wholly successful. The piece appeared to be little more than long, scale passages, and the composer must have intended more than that. However, Piston and Tucker both played zealously, and it appeared that they, if no one else, knew exactly what was going...
...pair then played Mr. Sapp's own Concertino, dedicated to Walter Piston (who supplied the theme of the second movement.) This work, commissioned by Town Hall, has already been played in France and Germany, and last night marked its second local performance. Mr. Sapp, who is now teaching Music 102, uses a jazzy, dissonant idiom which hints at times of Milhaud and Hindemith, but is distinctly his own. Nobody will be whistling any of the tunes, but the work holds together well and indicates real ability. The performance, of course, was authoritative...