This document provides reviews of several classical music recordings. It discusses performances of works by Liszt, Schumann, Weber, Mendelssohn, Mozart, and Brahms. The reviews note the performers, recording details, sound quality, and provide assessments of the interpretations and historical significance of the recordings. Overall, the reviews provide concise evaluations of the highlighted recordings while giving relevant background information.
ASSIGNMENT The meaning of the term concerto has changed at le.docxElbaStoddard58
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ASSIGNMENT:
The meaning of the termÂ
concerto
 has changed at least three times in the history of music. What are the major elements of the concerto? Is there always a soloist? Is there a traditional musical form? Refer to the listening examples in the Special Focus (Concertos) to support your conclusions. This assignment requires a full page (400 to 500 words) submission.
PLEASE DO THE ASSIGNMENT BASED ON THE LESSON BELOW and a few research.... just follow the direction here.
Lesson:
Special Focus: The Concerto
This Special Focus explores the concerto and the relationship between the soloist and the orchestra.
Search the Internet or the library for the term concerto. To narrow your search, you could type the words concerto and history (only sites with these terms are returned). Or look up appropriate phrases. Putting the words between quotation marks gives you information on the whole phrase (try pairing concerto with different words or phrase combinations, depending on your area of interest, e.g., Bach, "20th Century,â composing, Paganini, 1800s, soloist, exposition, symphony, history, etc.)
Listen to the following selections (you will refer to these in your writing assignment):
The Four Seasons (Spring), by Antonio Vivaldi
Trumpet Concerto in E-Flat Major, by Joseph Haydn
Piano Concerto No. 23 in A Major, by Wolfgang Amadeus Mozart
Concerto for Orchestra, by BĂŠla BartĂłk
Concerto Grosso 1985, by Ellen Taaffe Zwilich
Orchestral Concerto
The concerto grosso of the Baroque Period developed into the solo concerto of the Classical Period, and finally into the orchestral concerto as in Bartokâs Concerto for Orchestra (studied in Lesson 10). This work is called a concerto because of the soloistic nature of the instruments within the orchestra; it is in essence a return to the orchestral concertos of the Baroque Era. Modern concertos continued to experiment with different combinations of soloists and orchestra. The orchestra itself was also changing. For example, Arthur Bliss wrote a concerto for an interesting combination of piano, tenor voice, xylophone, and strings in 1933. Ellen Zwilichâs Concerto Grosso 1985 is another intriguing work written in the spirit of an orchestral concerto. There is no specific soloist; there are five movements, and the theme is based on a theme from Handelâs Sonata in D for violin. With this work, the term âconcertoâ seems to have come full circle from the Baroque Era.
Finally, the 1965 composition Piano Concerto, by Elliott Carter, integrates three contrasting elements. In this two-movement work, the orchestra and piano soloist are musically immiscible; there is, however, a concertino group of seven instrumentalists that acts as an intermediary between the musical ideas presented in the orchestra and the conflicting ideas of the pianist. Carter raised contrast to yet another level of complexity and intellectualism. The term âconcertoâ has remained fluid for centuries and continues to reappear as new forms in whi.
hou12Zhengke Hou (Olivia)Dr. Sarah Herbertâ¨M.docxwellesleyterresa
Â
hou1
2
Zhengke Hou (Olivia)
Dr. Sarah Herbertâ¨
MUS 135-H
10/11/2017
Introduction
This paper will use five jazz music title compositions from the WGUC radio station which will be described through music journals. The titles of the music will be researched to determine whether it is newly composed or whether it is a standard jazz tune. The artist or group of artists for the songs will be researched and then placed into the most appropriate classical, contemporary or historical context. The composition will be evaluated to find out the instrumentals as well as the way human timbres are used and the manner in which they interact. The jazz type or genre which most effectively fits the composition will also be identified. The five compositions that will be focused on include the Wolf gang Amadeus Mozart: Horn Quintet, Paul Crestonâs partita for violin, flute and strings, Antonio Vivaldi concert performance on #6 in a minor for violin as well as the Kegelstatt trio performances. It will also include William Grant âstill lyric quartet.
Peter Tchaikovskyâs Romeo and Juliet
Date: 01/9/2017
Royal Philharmonic Orchestra â Daniele Gatti
Genre: Classical
Style: Romantic
Country: Europe
Released: 2004
Label: Harmonia Mundi USA
This work Tchaikovsky's Symphony No. 5 and Romeo and Juliet is a masterpiece that is often overplayed even when the marketplace has several recordings of similar genres. The original dynamics and tempi for Tchaikovsky have been ignored for a long time, and therefore their restoration has been dramatically presented in a different view (Goto, et al. 2002). The fast tempo makes the real difference in this composition as the symphony has a clear trajectory. Romeo and Juliet is a more combative composition performed without the normal languid pacing. However, the speed of the performance is possibly less interesting when compared to the dynamic work benefit.
Most fans of Tchaikovsky had accused of him of jumping the shark before Romeo and Juliet were started. This was mainly because his outside bravado depicted nothing concerning his habits that may be getting some tired. However, his music is very thrilling as ever. From a personal perspective, contemporary music has not really changed view towards this composition.
Wolfgang Amadeus Mozart: Horn Quintet
Date: 17/8/2017
Genre: Concerto
Style: Classical period
Composed: 1786
This is a classical work was divided into three major movements which include the Rondo also known as Allegro vivace, Allegro moderato, and Romance which is the Andante cantabile. Initially, the manuscript which was written in green, red, black ink and blue was seen as a jocular trial to crash with the projected performer who was Joseph Leutgeb, the friend to Mozart. However, it was said recently that the rainbow score might represent a type of color code.
The program was a shrewd composition that was put together in the eighties. It includes four major works that are not overly heard (Goto, et ...
Nina Kotova: Emotionally charged chamber concert opens Festival del SoleNina Kotova
Â
Nina Kotova: Emotionally charged chamber concert opens Festival del Sole
Napa Valley Register. Concert review
By L. PIERCE CARSON, Register Staff Writer. Jul 25, 2010
A Strategic Approach: GenAI in EducationPeter Windle
Â
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
ASSIGNMENT The meaning of the term concerto has changed at le.docxElbaStoddard58
Â
ASSIGNMENT:
The meaning of the termÂ
concerto
 has changed at least three times in the history of music. What are the major elements of the concerto? Is there always a soloist? Is there a traditional musical form? Refer to the listening examples in the Special Focus (Concertos) to support your conclusions. This assignment requires a full page (400 to 500 words) submission.
PLEASE DO THE ASSIGNMENT BASED ON THE LESSON BELOW and a few research.... just follow the direction here.
Lesson:
Special Focus: The Concerto
This Special Focus explores the concerto and the relationship between the soloist and the orchestra.
Search the Internet or the library for the term concerto. To narrow your search, you could type the words concerto and history (only sites with these terms are returned). Or look up appropriate phrases. Putting the words between quotation marks gives you information on the whole phrase (try pairing concerto with different words or phrase combinations, depending on your area of interest, e.g., Bach, "20th Century,â composing, Paganini, 1800s, soloist, exposition, symphony, history, etc.)
Listen to the following selections (you will refer to these in your writing assignment):
The Four Seasons (Spring), by Antonio Vivaldi
Trumpet Concerto in E-Flat Major, by Joseph Haydn
Piano Concerto No. 23 in A Major, by Wolfgang Amadeus Mozart
Concerto for Orchestra, by BĂŠla BartĂłk
Concerto Grosso 1985, by Ellen Taaffe Zwilich
Orchestral Concerto
The concerto grosso of the Baroque Period developed into the solo concerto of the Classical Period, and finally into the orchestral concerto as in Bartokâs Concerto for Orchestra (studied in Lesson 10). This work is called a concerto because of the soloistic nature of the instruments within the orchestra; it is in essence a return to the orchestral concertos of the Baroque Era. Modern concertos continued to experiment with different combinations of soloists and orchestra. The orchestra itself was also changing. For example, Arthur Bliss wrote a concerto for an interesting combination of piano, tenor voice, xylophone, and strings in 1933. Ellen Zwilichâs Concerto Grosso 1985 is another intriguing work written in the spirit of an orchestral concerto. There is no specific soloist; there are five movements, and the theme is based on a theme from Handelâs Sonata in D for violin. With this work, the term âconcertoâ seems to have come full circle from the Baroque Era.
Finally, the 1965 composition Piano Concerto, by Elliott Carter, integrates three contrasting elements. In this two-movement work, the orchestra and piano soloist are musically immiscible; there is, however, a concertino group of seven instrumentalists that acts as an intermediary between the musical ideas presented in the orchestra and the conflicting ideas of the pianist. Carter raised contrast to yet another level of complexity and intellectualism. The term âconcertoâ has remained fluid for centuries and continues to reappear as new forms in whi.
hou12Zhengke Hou (Olivia)Dr. Sarah Herbertâ¨M.docxwellesleyterresa
Â
hou1
2
Zhengke Hou (Olivia)
Dr. Sarah Herbertâ¨
MUS 135-H
10/11/2017
Introduction
This paper will use five jazz music title compositions from the WGUC radio station which will be described through music journals. The titles of the music will be researched to determine whether it is newly composed or whether it is a standard jazz tune. The artist or group of artists for the songs will be researched and then placed into the most appropriate classical, contemporary or historical context. The composition will be evaluated to find out the instrumentals as well as the way human timbres are used and the manner in which they interact. The jazz type or genre which most effectively fits the composition will also be identified. The five compositions that will be focused on include the Wolf gang Amadeus Mozart: Horn Quintet, Paul Crestonâs partita for violin, flute and strings, Antonio Vivaldi concert performance on #6 in a minor for violin as well as the Kegelstatt trio performances. It will also include William Grant âstill lyric quartet.
Peter Tchaikovskyâs Romeo and Juliet
Date: 01/9/2017
Royal Philharmonic Orchestra â Daniele Gatti
Genre: Classical
Style: Romantic
Country: Europe
Released: 2004
Label: Harmonia Mundi USA
This work Tchaikovsky's Symphony No. 5 and Romeo and Juliet is a masterpiece that is often overplayed even when the marketplace has several recordings of similar genres. The original dynamics and tempi for Tchaikovsky have been ignored for a long time, and therefore their restoration has been dramatically presented in a different view (Goto, et al. 2002). The fast tempo makes the real difference in this composition as the symphony has a clear trajectory. Romeo and Juliet is a more combative composition performed without the normal languid pacing. However, the speed of the performance is possibly less interesting when compared to the dynamic work benefit.
Most fans of Tchaikovsky had accused of him of jumping the shark before Romeo and Juliet were started. This was mainly because his outside bravado depicted nothing concerning his habits that may be getting some tired. However, his music is very thrilling as ever. From a personal perspective, contemporary music has not really changed view towards this composition.
Wolfgang Amadeus Mozart: Horn Quintet
Date: 17/8/2017
Genre: Concerto
Style: Classical period
Composed: 1786
This is a classical work was divided into three major movements which include the Rondo also known as Allegro vivace, Allegro moderato, and Romance which is the Andante cantabile. Initially, the manuscript which was written in green, red, black ink and blue was seen as a jocular trial to crash with the projected performer who was Joseph Leutgeb, the friend to Mozart. However, it was said recently that the rainbow score might represent a type of color code.
The program was a shrewd composition that was put together in the eighties. It includes four major works that are not overly heard (Goto, et ...
Nina Kotova: Emotionally charged chamber concert opens Festival del SoleNina Kotova
Â
Nina Kotova: Emotionally charged chamber concert opens Festival del Sole
Napa Valley Register. Concert review
By L. PIERCE CARSON, Register Staff Writer. Jul 25, 2010
A Strategic Approach: GenAI in EducationPeter Windle
Â
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
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Introduction to AI for Nonprofits with Tapp NetworkTechSoup
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Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
2024.06.01 Introducing a competency framework for languag learning materials ...Sandy Millin
Â
http://sandymillin.wordpress.com/iateflwebinar2024
Published classroom materials form the basis of syllabuses, drive teacher professional development, and have a potentially huge influence on learners, teachers and education systems. All teachers also create their own materials, whether a few sentences on a blackboard, a highly-structured fully-realised online course, or anything in between. Despite this, the knowledge and skills needed to create effective language learning materials are rarely part of teacher training, and are mostly learnt by trial and error.
Knowledge and skills frameworks, generally called competency frameworks, for ELT teachers, trainers and managers have existed for a few years now. However, until I created one for my MA dissertation, there wasnât one drawing together what we need to know and do to be able to effectively produce language learning materials.
This webinar will introduce you to my framework, highlighting the key competencies I identified from my research. It will also show how anybody involved in language teaching (any language, not just English!), teacher training, managing schools or developing language learning materials can benefit from using the framework.
Honest Reviews of Tim Han LMA Course Program.pptxtimhan337
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Personal development courses are widely available today, with each one promising life-changing outcomes. Tim Hanâs Life Mastery Achievers (LMA) Course has drawn a lot of interest. In addition to offering my frank assessment of Success Insiderâs LMA Course, this piece examines the courseâs effects via a variety of Tim Han LMA course reviews and Success Insider comments.
1. American Record Guide 243
and Arrau takes some very dangerous chances
in it. On the other hand, some passages are
played with the most delectable, limpid, pearly
tone imaginable. The tempos of certain sec-
tions are too slow and grandiloquent (especial-
ly in the Allegro agitato section of I) and that
detracts somewhat from the whole. Still, this
performance comes close to the definitive
recordingsâRichter (Philips) and Zimerman
(DG)âand in some ways exceeds them.
The sound restoration must have been dif-
ficult. The orchestral sound is boxy and there
are instances of extraneous electronic noise,
distortion, and slight out-of-tuneness (all of
relatively minor importance and mentioned in
the notes). But the balance of piano and
orchestra is excellent, as is the piano tone.
The Schumann, from 1951, is a poetic,
dreamy, immaculately poised account, yet full
of temperament. I find the unusual character
and expressivity of tone Arrau draws from the
piano on this occasion enthralling, including
the timbre of his wondrous octaves. There is
little question that Arrau is the pacesetter here.
The Finale is gloriousâeffortlessly fluent and
dashing in its unceasing rhythmic sweep.
Recorded sound is better than in the Liszt, and
again the piano-orchestra balance is excellent.
Weberâs KonzertstĂźck seems never to have
caught on in the US; it has remained almost
exclusively a province of European pianists.
Among the older pianists, Brendel, Casadesus,
and Schnabel performed and recorded it; but it
is safe to say that Arrau was incomparable in
this arresting, often riotous program-concerto.
In this 1947 New York performance (about the
time I first heard Arrau in person in Town Hall
in his Beethoven sonata cycle), the orchestra
sounds tentative and uncertain at first. But
Kleiber maintains a more closely-knit partner-
ship with the soloist than did either Mitropou-
los or DeSabata. Arrauâs way of projecting the
moods of the four movements is remarkable,
and his pianism is absolutely dazzling in every
measure, with the result that this may be the
rarest of the three gems on this release.
MULBURY
LISZT: Piano Sonata; Transcendental Etudes
1,2,3,5,7,8,10,11; Funerailles
Sviatoslav RichterâPalexa 537â75 minutes
The sonata is from a May 1965 Carnegie Hall
performance, the etudes from 1956 Moscow,
and Funerailles 1958 Budapest. Collectors
probably already have these, but they may be
worth replacing since Palexa has worked won-
ders with the not-so-splendid sound. No, not
all of the distortion has been removed, but
enough has so that enjoying the remarkable
playing is not just for the faithful.
If you must have all of Richterâs recordings
of the sonata this may well fill a gap in your
collection. It has an intensity that is hard to
resist, though it does not differ noticeably from
the others he recorded around the same time.
Funerailles still breaks up in loud passages, but
it is at least tolerable to listen to.
With the eight selections from the Transcen-
dental Etudes we have some truly amazing tech-
nical legerdemain. Readers believing that they
may have discovered a new cache of recordings
should be advised that a previous issue wrongly
attributed the date of recording to 1946.
BECKER
MENDELSSOHN: Elijah
Harold Williams (Elijah); Parry Jones, t; Clara Ser-
ena, a; Isobel Baillie, s; Tom Purvis, b; Wireless
Singers, BBC/ Stanford Robinson
Divine Art 27802 [2CD] 94 minutes
Mendelssohnâs Elijah, first performed in Lon-
don in 1846, became a cornerstone of the
choral repertoire in Victorian Britain, even to
rivaling the great Handel. So popular was it
that a recording was a prime desideratum, and
the feat was accomplished in April 1930, when
the oratorio was released by Columbia on 15
10-inch discs. While I am no authority in such
matters, the BBC performers sound like what I
imagine the Victorian tradition must have
been, scaled down somewhat for the recording
studio and with some minor cuts to accommo-
date disc spacing. The singers have the English
timbre and enunciate in such a way as to be
understood verbally as well as musically. While
a printed text is included, it is hardly neces-
sary, not least because this discographic rarity
has been restored with considerable care.
What pleased before will please again in this
moving and dramatic performance.
RADCLIFFE
MOZART: The Abduction From the Seraglio
Erika Koth (Konstanze), Lisa Otto (Blonde),
Rudolf Schock (Belmonte), Murray Dickie (Pedril-
lo), Kurt Bohme (Osmin); Vienna Opera Chorus &
Philharmonic/ George Szell
Orfeo 652 052 [2CD] 126 minutes
It is ironic that my two favorite recordings of
Mozartâs delightful singspiel are both nearly 50
years old: Beecham and Szell. I have two oth-
ers, by Mackerras on Telarc and Hogwood on
Oiseau-Lyre, as well as a decent one by Mehta
on TDK DVD. Any one of the five is satisfacto-
ry, but Beecham and Szell give the score an
extra lilt that makes it particularly attractive.
Of course Beechamâs is in good early stereo. Its
greatest cast advantage is in Gottlob Frick, who
sings the pompous role of Osmin to perfection.
His interpretation is sly and his low bass voice
fits the role perfectly. Szell uses Kurt Bohme,
whose voice isnât strong enough in the lower
2. 244 March/April 2006
registers. He performs it as an outright buffoon
and lacks the nuances that Frick brings to it.
Szell has the disadvantage of being record-
ed at the 1956 Salzburg Festival. The sound is
typical of the Austrian radio at the time: dry,
close, and somewhat restricted in range. One
quickly adjusts to it as the performance pro-
ceeds. The audience obviously greatly enjoys it
and responds more to it than do most Salzburg
audiences, especially considering that this was
performed in the small Landestheatre. The
score benefits again and again from Szellâs ele-
gant pointing as he conducts.
His other four soloists are well chosen and
perform admirably. Hannsgeorg Laubenthal is
a very satisfactory Pasha Selim, which is a brief
speaking part.
One advantage that Szell had was that 1956
was the Mozart Bicentennial and Salzburg lav-
ished extra attention on its productions.
Although he had conducted three operas there
previously, this was his first appearance in
Mozart. He brought a freshness of style to the
opera that is clearly audible in this recording.
The booklet gives good background on the
performances as well as a synopsis of the
action. Orfeo seems to have improved the
sound as much as currently possible.
BAUMAN
MOZART: Eine Kleine Nachtmusik;
Divertimentos 11+17
Chicago Symphony, NBC Symphony/ Fritz Reiner
Testament 1379â58 minutes
These excellent, yet controversial perfor-
mances, in very good monaural sound, were
recorded in the 1950s. Nevertheless, they may
not please listeners brought up, or accustomed
to, the Mozart interpretations of Sir Thomas
Beecham and Bruno Walter, because Reinerâs
way with Mozart was quite different. He favor-
ed leaner sonorities and an astringent rather
than a plush string tone, and he insisted on
rigid rhythmic stability, which is not a concept
associated with Walter and Beecham. Reiner
evidently saw Mozart as a classical rather than
as a romantic composer, and this approach has
some serious limitations, as illustrated in his
performance of EKN, one of the composerâs
most popular works. Reinerâs tempos are quite
a bit faster in the first two movements, and in
contrast to Beecham and Walter he never
seems to relax. His orchestra is smaller; both of
his colleagues used larger orchestras. And
while Reinerâs strings play with better articula-
tion, his performances lack warmth and charm.
Yet I like the divertimentos very much,
especially 17, a marvelously inventive work but
a long oneâit can sound boring in lesser
hands. Again, Reinerâs tempos are faster than
most; 38 minutes compared to 45 minutes
with Sandor Vegh (Capriccio). The string
sound is, again, lean but beautiful, and their
articulation unsurpassed, as is the sound of
the Chicago horns. This is an early work (1779)
and Reinerâs way with it is entirely appropri-
ate. Thereâs not much warmth, but it never
seems rushed.
Similar comments apply to Divertimento
11, an even earlier work, which is played by the
NBC Symphony. Except for the sound, which
is a bit more boxy, I was hard put to find any
differences in the quality of the string sections
of the two orchestras.
The Chicago recordings were made in Orch-
estra Hall in 1954 and 1955, and the NBC Sym-
phony was recorded in New Yorkâs Manhattan
Center in 1954. I wonder why Toscaniniâs
recordings werenât made there. The notes are
all about the conductor rather than the music.
They include four photographs of him, all with
a scowl. Did the man ever smile?
MOSES
MOZART: Piano Concerto 23;
BRAHMS: Haydn Variations;
WOLF-FERRARI: Jewels of the Madonna
Intermezzos
Monique Haas, p; Berlin Philharmonic, Stuttgart
Orchestra/ Ferdinand Leitner
Profil 4063â52 minutes
These are old monaural recordingsâthe Moz-
art and Brahms from 1952, the Wolf-Ferrari
from 1949. They are from tape masters, and
their sound is quite goodâclear and free of
distortion, with satisfactory frequency re-
sponse and dynamic range as well as impres-
sively full and well-controlled bass. The cover
and notes nowhere tell us it is monauralâthat
isnât right.
The piece de resistance, of course, is Moni-
que Haasâs performance of Mozartâs Piano
Concerto 23 in A. It is well shaped and quite
well played, though its straightforward honesty
is not especially thrilling or revealing. Leitnerâs
accompaniment is likewise good but not out-
standing in any way.
The Brahms Haydn Variations, on the other
hand, is very good. It is really slow, at 20 min-
utes slower even than VPO/BĂśhm. It differs
from BĂśhm in the way the slowness is distrib-
uted internally over the various sections. Leit-
ner takes the initial statement of the theme and
also the first variation slower than Iâve ever
heard them on records. Nevertheless, it works
unexpectedly well and goes on to build one of
the more interesting performances I know of.
Also, the Stuttgart orchestra is very good.
The two intermezzos from Wolf-Ferrariâs
opera Jewels of the Madonna are delightful but
very short pieces.
McKELVEY