Critic Harry Rolnick chose Epomeo’s appearance at the Kyo-Shin-Arts series at the Tenri Cultural Centre over a trip to Carnegie Hall to hear Yo-Yo Ma. Did he make the right choice? Read the whole thing here.
One can never underrate Mieczyslaw Weinberg, though he is little heard in New York. The last time was the St Petersburg Orchestra with his Moldavian Overture. Mr. Weinberg, like his friend Dmitri Shostakovich, were truly fecund composers. Weinberg had written about 21 symphonies and much chamber music, like the Trio played this afternoon. New to this writer, but filled with zest, juicy violin solos by Dianne Pascal, and succinct movements.
That same trio sparkled through Beethoven’s early C Minor Trio for a finale. But it was the opening work, seven selections from György Kurtág’s Signs, Games and Dances which impressed most of all.
Kurtág, I must confess, has become an obsession. Infinite works, each different, each a one-carat diamond, a flash, a bolt of lightning, an epigraph…
Yes, it was Mr. Schlefer who supplied the Japanese music. But György Kurtág’s music was closer to a Japanese sketch, half a haiku, an inhalation, an inspiration.
The seven works were dissimilar. An out-of-tune Romanian dance, a crazy waltz, an embrace of softness…each demanded not only full attention from the audience, but