A Ukrainian/Israeli violinist is backed by Brazilian musicians and conductor in a trio of American works of the twentieth century for violin and orchestra, all originating within about 15 years of each other. It's not as unusual as it sounds. In fact, the connections among the musicians and repertory here show that it's not unusual at all. Violinist Vadim Gluzman studied in the U.S., at the Juilliard School with Dorothy DeLay, among others, and his style is a faithful extension of the one Jascha Heifetz brought to the U.S. ...
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A Ukrainian/Israeli violinist is backed by Brazilian musicians and conductor in a trio of American works of the twentieth century for violin and orchestra, all originating within about 15 years of each other. It's not as unusual as it sounds. In fact, the connections among the musicians and repertory here show that it's not unusual at all. Violinist Vadim Gluzman studied in the U.S., at the Juilliard School with Dorothy DeLay, among others, and his style is a faithful extension of the one Jascha Heifetz brought to the U.S. almost a century ago. São Paulo Symphony Orchestra conductor John Neschling, a Brazilian with Austrian roots (he is a grand-nephew of Arnold Schoenberg), studied conducting with Leonard Bernstein. And the three composers on the program, who might be dubbed the three Bs of American concert music, are linked in many ways. The program is beautifully constructed. The opening work, Bernstein's Serenade, marries a representation of Plato's Symposium, his Socratic dialogue on love, to a...
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