Page 74 - Scrimshaw1980-81

page 4 Scrimshaw February 26, 1981 • Lorango Featured In Alumni from page 1 years ago the subject of reinstating REVIEW to see why the LeventrittFoundation there had been a fire drill, terence education. The Activities Otnce is the requirement of attendance was selected him to be part of their would surely have bruised his knees doing what they can to promote brought up, but dropped due to Despite an illness that delayed his orocrem. trying to away from the piano. Crystal events. ''What we need is wide problems with how credit should be arrival on campus and prevented an My enjoymentof the recital was no clear balance, facile ceoeeoc. intelli- support from the faculty-in the way of assigned. Mowbray said there is no interview, Thomas Lorango-presented doubt furthered by the selection of gent contrapuntal separation, and a classroom promotion and attending possibility that the requirement will be a thoughtful and exciting piano recital pieces. Beginning with J. S. Bach's sensitive use of color all brought the the events. Setting an example would reinstated in the foreseeable future February 18. Lorango is a native of Toccata in fN, BWV 910, lorango difficult Toccata to life. help support the activities. I ~Iieve -My view is that, at $500 for the Buffalo. N.Y. and has won numerous presented an encapsulated version of Mozart's Sonata in a, K. 310, which some faculty members reonre at- perlormer and $565 for piano rental, awards in competitions. Currently he the entire program The only thing can be heard on March 17 in James tenoence of their classes at some something should be done to improve is studying with Seymour Lipkin at the that worried me about his playing Lisicki's junior recital, was executed events, and more should." Several attendance:' Curtis Institute of Music. It's not hard was his proximity to the keyboard. II flawlessly. The lively outer movements .... :....-------------------------------...;_-_..;__-, with their horrifyingly fast runs were no hindrance for lorango's fluid fin- gers. The slow movement. with an almost Romantic feel and improvisa- tory-like ornaments, was expressive. not excessive. By the time Beethoven wrote the Op. 101 Sonata, he had become quite adept atsurpnslnq the listener Here the shocks and jolts are per- fectly melded with his rhythmically driving motives. lorango played around with the shocks, without los- ing a sense of unity for the piece. He also recognized and communicated a greal deal of humor in the piece, which others might ignore,searching out the dramatic and tragic instead. As for the Schumann Novelette in fl. Op. 21, No.8, the composer should have stuck with his art songs As it was, lorango made he best of this piece "01 fluff, making good use of its only asset, texture The literal and figurative climax of the performance was Samuel Bar- ber's scnete.oo. 26. This magical piece may have been included in the program as a tribute to the com- poser, who died recently, but possi- bly also because of its sheer greatness. The work has an epic quality, with many moods and thoughts unified in a cyclical way The score is extremely difficult. with some frantic finger-twisting passages that lorango executed seemingly ef- fortlessly. The work is dissonant, but not without a harmonic logic that was communicated quite well. Here for the first time in the performance, Lorango allowed his foot to remain on the damper pedal longer, making full l use of the stacked up harmonies and the piano's resonance. AI the same time, the counterpoint, especially in the delicate 2nd movement and the fugue of the 4th movement, communicated quite ctearly WOW! See her in PLAYBOY and BLAKE EDWARDS' COLUMBIA PICTIJRES PRESEl'ITS A MARTIN RANSOHOFF PRODUCTION A RALPH BAKSHl ALM "AMERICAN POP" This Friday 1~l!!!!!~~~1Proclucedb~=;rNR~~~~~~~r~7s~I=~~P~BAKSHI DOI~,=I" C Alumni Hall Opening at Selected Theatres Near You. 7 p.m. 9:30 &12 p.m. Admission $1.00 1~ ...