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Reservations aside, Zimmermann and the orchestra gave it their all. Many long-time music lovers will find it hard to accept the complete absence of the dark melancholy that we have come to associate with the composer's late works. 72, works surprisingly well, though it has no relation to the composer's conception. The ballet-like scherzo, a transplant from Op. Bogatyrev had to make heavy use of the Taneyev transcription for piano as well as Tchaikovsky's very rough manuscript draft. The tranquil second movement is an appealing song without words, but only 81 of its 204 bars were found in Tchaikovsky's hand. That said, the first and last movements have plenty of brilliant orchestral fireworks. While it is pleasant enough listening, the themes are second- or third-drawer Tchaikovsky, repeated without sufficient variation. In 1956, Bogatyrev used the original sketches to orchestrate the symphony, replacing the missing scherzo with an orchestration of a piano piece from Op. After the composer's death, his pupil Taneyev freely adapted the remaining two sketches and published them as Andante and Finale, Op. The impression it produces is far from faltering in a word, (it) was written just for the sake of writing something, and contains nothing interesting or appealing." However, in 1893, he used the first movement sketch as a basis for the one-movement Third Piano Concerto, Op. and looked with an impartial eye at my symphony. He had second thoughts, writing in December 16, 1892, that "(I) have gone over attentively.
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In stark contrast to the Fifth and Sixth Symphonies, the Seventh is optimistic and affirming. The score is Semyon Bogatyrev's orchestration of sketches Tchaikovsky made between 1891-1892 for three of four movements for a proposed symphony to be called Zhizn (Life). This was the EMF's second performance of the work I attended a student orchestra performance in 1987. Watts still seems to be having a rapid but usually silent conversation with the keyboard - his mouth is constantly in motion - and he still stomps with his left foot from time to time.Ī real rarity, Tchaikovsky's Seventh Symphony in E-flat, opened the concert. With the EMF orchestra's large string section at his disposal, Zimmermann asked for and obtained a far richer string sound than I ever heard him get in Raleigh's Meymandi Concert Hall, which seems to drain the bloom from low strings.
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Zimmermann's weaving of the orchestra's strands fit the pianist's conception like a glove. His interpretation emphasized the Romantic elements without seriously violating the classical style. The fast runs were clearly articulated, and his timing of more ruminative passages was dramatically effective. Watts still has his chops - there were very few dropped or smudged notes. The concert ended with a stimulating performance of Beethoven's Piano Concerto No. The concert's start was delayed to allow latecomers to wade through the torrential downpour that swept the campus just before 8:00 p.m. It is well known that Zimmermann is one of Watts' favorite accompanists, and the pianist is a frequent soloist with the conductor's orchestras. This also marked the return of NC Symphony Conductor Laureate Gerhardt Zimmermann to the podium of the all-faculty Eastern Philharmonic Orchestra. Watts and Tchaikovsky's Seventh: Worth Braving a Summer Monsoonį or more than a week in advance, Dana Auditorium had been sold out for the much-anticipated July 17 return of pianist André Watts to the Eastern Music Festival.