Word: bartosikã
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...overwhelmed in the actual battle. This inflexible penchant for volume was a distraction in all three program selections.Ultimately, these worries were redeemed by the arrival of Bartosik, who found new life in Edvard Grieg’s popular “Piano Concerto in A minor.” Bartosik??s delicate touch on the piano could only be described as poetry in motion. At times, Bartosik??s sublime piano solos were sullied by out-of-tune woodwind entrances, deafening trumpets, or murky French horn lines, but otherwise the Grieg was a resounding success...
...Suggestion Diabolique,” a piece more deserving of the title “Overstatement Diabolique.” Beginning with a low bass rumble, it quickly erupted into fiery, insistent repetitions of the titular motif. Prokofiev reemerged later on the program with Nora I. Bartosik??s ’08 spirited performance of his “Toccata,” opus 11. Unfortunately, the mediocrity of the piano itself detracted from all the performances—and Bartosik??s was no exception. Despite her clarity and a good sense of timing, Bartosik still...
Audience members could not help but be particularly struck by Bartosik??s composure. She often played a difficult run or trill with one hand while resting the other calmly on her lap. Her cadenza and display of virtuosity at the end of the first movement was brilliant and unquestionably qualified as the moment of the most laudable musicality of the night...
With the strings section continually out of sync, the second movement was particularly poor due to the orchestra’s part. Bartosik??s performance, however, continued to entertain and was as tender and graceful as ever. The overwhelming contrast between the soloist and the accompaniment left at least one audience member wishing the orchestra would put their instruments down and let the soloist perform unimpeded...