Setzer led with sweetness and sometimes sorrow, and helped the group produce their first notes as if coming from thin air. Notwithstanding early issues, this was a good performance.
Having played together for four decades, they interacted marvelously off one another and provided a compelling compliment to Kissin, who passionately swept through the very challenging piano part. In the two major quintet pieces that followed, this was more than evident.
Photo by Bette Marshall. Originally in the multi-sharped key of C minor, this Fugue was transcribed by E. The second half of the concert was devoted to a single work, Piano Quintet No.
With ensemble balance having been achieved, it worked marvelously. This is soon sped up with all instruments entering in force. This was especially true in the third movement.
The quintet made the most of this piece, letting each member shine in momentary solos or duets. And they all played with such joy! Clarity of playing, along with precise, expressive music-making, were the hallmarks of their performance.
During this time, each stringed instrument has a moment to shine melodically. Ngwenyama, who played this one note in a slow but steady drone for the duration of the piece while the other instruments wove their individual melodies over, under, and around it.
The quintet allowed both violinists into the action, with Setzer on first and Drucker on second, and the performance showed off the duration of experience the Emerson String Quartet brings to the stage. During these sections, the piano takes a largely backing role, with Kissin ably providing arpeggiated chords, dexterous rills, and soft runs.
In any case, the performers individually were great. It should be said that the viola is very difficult to play well and with the same agility as a violin. The Emerson Quartet have been performing for over for 40 years. Setzer and Dutton played off each well in the opening movement, at a point where Watkins gave the cello a measured, backing role.
However, he was a composer of of importance and stature in his native England, and was quite imaginative at that.
Evegeny Kissin played with fire and distinction. Mozart composed two works for this combo, in Fantasia upon one note, for Five Viols in F majorcomposed for the ancestor of the modern string family, gives one of the five quintet members just one note to play.
It is rare to hear encores in these circumstances, and this was a wonderful bonus. It was obvious to the audience that these five people were having the time of their lives tearing into this vigorous work.
Having performed internationally since the age of 13 inKissin has a ton of experience and has earned a reputation for bold and fiery playing, which he has amply demonstrated in his recitals at Symphony Center.
From the opening, attention was immediately focused on Kissin, who played with his usual flair. For more information, check out Evgeny Kissin at Symphony Center.
The piece clocked in at just three minutes, which was probably more than enough for Ms. This Czech composer from the second half of the 19th Century has a large repertoire of chamber music that boasts many top-notch works, but he seems to get less time on programs than he deserves.
In his String Quintet in G minor K. This time everyone was seated. The sun came back out again in the final movement. Eye contact was constant vital to a small ensembleand when the "horse-race" returned for the end of the final movement, they pulled out all the stops for a rousing, exciting finish.
This unusual practice allows the two violinists to play lead as first violin half of the time; then they play follower as the second violin the other half of the time.
For many years, Russian pianist Evgeny Kissin was the rising young star of the piano world. Unlike Haydn, Mozart rarely invented whole new musical constructs.
Drucker led the "horse-race" of a first movement and the rest of the piece with firmness and authority. Mozart was not only a gifted pianist and violinist, he was also a gifted violist. This movement has the feel of a concerto grosso, with the piano and string trio trading musical phrases back and forth.
Photo by Lisa Marie Mazzucco. The first two pieces were quite short, lagniappes for what was to come.The Emerson String Quartet teamed up with pianist Evgeny Kissin for a lively performance at Symphony Center on Sunday.
The pairing combined the Emersons’ wizened experience with Kissin’s vigor. Having performed together for over 40 years, the New York City-based Emerson String Quartet has. Apr 29, · Review: Evgeny Kissin and Emerson Quartet Rise to Each Other’s Challenges Image The pianist Evgeny Kissin, center, with the Emerson String Quartet at Carnegie Hall on Friday.
As has become the norm with the Mostly Mozart Festival in recent years, the Monday, July 30th Emerson String Quartet concert at Alice Tully Hall included some unusual programming choices. Emerson Quartet review – visceral Beethoven thrills but also spills In the first instalment of the Emerson Quartet’s newest late-quartet cycle, taking in Opsandthe works.
Review: Austin Chamber Music Festival How the Attacca Quartet, Emerson Quartet, and invoke played the overwhelming sensation of the following Friday night’s concert by the Emerson.
music that will be new to most people. telling, tough, thoughtful, emotionally fleet and powerfully recorded The Emerson Quartet define this shift beautifully, if somewhat enigmatically. Review Indexes By Label Select a label and all reviews are listed in Catalogue order.Download