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GE 14 THE SOUTHERN ISRAELITE April 30, 1982
Society and
Corporate
Caterers
for every occasion
Ronnie Spetulnick
17 years Serving Atlanta
and the Southeast
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WEDDNG RECEPTIONS & BANQUETS
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by Thomas J. Anderson
Last weekend’s program by the
Atlanta Symphony Orchestra
featured three works dating from
within the past century (or within
four years of it, at least). With
Maestro Louis Lane on the
podium, the orchestra opened the
program with the ultimate model
of the Impressionistic style,
Debussy’s “Prelude to the
Afternoon of a Faun.” Conducting
without a score. Lane attempted to
shape and mold subtleties of
phrasing that, unfortunately, were
not always picked up by the
orchestra.
In the opening, the woodwind
chords were often unbalanced and
imprecise in ensemble, both of
which problems were picked up by ’
the strings in some of the later
tremolo chords that give
Impressionism its characteristic
cloudiness of sound. Of the several
woodwind solos in the work, the
playing of oboist Jonathan
Dlouhy was particularly
commendable.
The program continued with
music from the ballet “Petruska’’of
Igor Stravinsky. Written in 1911,
this work, along with the scores for
the ballets "The Firebird” and
“The Rite of Spring,” is from the
earliest, most obviously Russian
period of his long compositional
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career. In its swirling,
kaleidoscopic textures, this work
demands first-rate playing from
several soloists and from the
orchestra as a whole. For the most
part, this performance provided
both. Assets throughout were the
piano playing of Alice Oglesby,
the fine work of the percussion
section, particularly the mallet
virtuosity of principal player Jack
Bell, and the generally nice
woodwind playing.
In the third movement, the solo
playing of principal trumpet John
Head was very satisfactory, but
later in the same movement the
intonation ol some of the muted
chords in the trumpets was
somewhat suspect. The fourth
movement brought forth rich,
sonorous turn playing from the
strings and horns that was quite
impressive.
After intermission, the orchestra
was joined by Korean-born
violinist Kyung-Wha Chung for a
performance of Brahms’ powerful
Violin Concerto. As with most of
Brahms’ works, familiarity does
not breed boredom; rather it seems
that every hearing of works of this
late Romantic master brings
something new to a careful
listener. On the whole, it was a
quite satisfactory performance.
The beautiful opening of the
first movement suffered briefly
from wayward intonation in the
bassoon, but even this was not
particularly obtrusive. Ms.
Chung’s playing through the first
movement was sensitive and
delicate but not at all timid. When
appropriate, she was intense and
aggressive. However, there were
spots where she either took
intentional liberties or lost some of
the rhythmic precision inadvertently,
in either case resulting in some
shakes of the rhythmic tightness
upon which Brahms relies so
heavily. Perhaps this was just a
case of concert excitement taking
its toll for in spite of her impressive
background, Ms. Chung is
relatively young and likely still
subject to such problems.
Her playing in the cadenza
where such flexibility is
appropriate was very impressive. It
provided her with a suitable
opportunity for the expressive
sensitivity she seems most
comfortable with The exciting
conclusion of the movement
brought forth spontaneous
applause from a large part of the
audience. And why shouldn’t it?
The modern taboo against
applause between movements is of
fairly recent origins, dating from
the time tfiat movements began to
be more related to each other than
had previously been the case. I
suspect that many performers
secretly delight in being able to get
an extra burst of applause out of
an audience, and, after all, it does
give those “who know better”
something to feel smug about even
if they had to sit on their hands to
stifle the impulse.
Getting back to Brahms, the
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second movement was highlighted
by the luscious solo playing of
oboist Jonathan Dlouhy and had
some impressive clarinet
contributions by an unidentified
player, reportedly one of the
contenders for the principal
position in the section which is
becoming vacant again at the end
of the season Whoever she was,
her playing throughout the
Brahms was commendable.
Only two concerts remain in this
year’s subscription season—April
29-May I when Robert Shaw is
joined by pianist Murray Perahia
for a program including two
Mozart piano concerti, Schubert’s
"Unfinished” Symphony and
Tchaikovsky’s “Romeo and
Juliet,” and the season finale on
May I 3-id when Maestro Shaw
devotes an entire program to
Mahler’s monumental Ninth
Symphony.
Meichels
by Norma Barach
Eggplant Salad
Eggplant salad makes an
excellent appetizer served on
lettuce with sliced tomato, black
olives, and a couple of small
pickles. Serve with crackers.
2 lbs. eggplant
3 level tbsp. bread crumbs
3 large onions
4 hard boiled eggs
salt and pepper to taste
V* tsp. garlic powder
oil
paprika
Peel eggplant and cut into cubes.
Chop onions. Fry eggplant and
onions in oil until brown, then
cover and simmer 10 minutes.
Grate eggs. Add three eggs to
eggplant and onions. Add salt,
pepper, garlic powder and bread
crumbs. Garnish top with one
grated egg and a bit of paprika.