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The New York Times, April 2, 2003 Contrasting
an Explosive Fury with a Sense of Restraint There was no audience warm-up, no look-at-her-party-dress time at Midori's recital on Saturday night. The violinist simply walked onto the stage with her pianist, Robert McDonald, and slammed out the opening bars of Grieg's Third Sonata with an explosive fury that commanded instant attention. Many soloists today
have masterly technique, but few conjure such searing intensity seemingly
out of nowhere. Midori plays not on top of the strings but deeply inside
them, pulling the sound out so vigorously that the entire violin sometimes
protests with an audible nasal buzz. There was something thrilling in
hearing that buzz on Saturday night. It meant that a supremely well-made
instrument was being played at the very edge of its envelope and that
the performer had chosen sonic expressiveness over safe and unblemished
tonal beauty. |
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