It captivated listeners so completely when first premiered that an immediate, mid-symphony encore was demanded. More than 200 years later, from Hollywood to the concert hall, the bewitching “Allegretto” from Beethoven’s Seventh speaks to the heart just as intently - a vast, brooding midnight amidst a Symphony of sunny exuberance and surging high spirits. Kirill Gerstein kindles enough piano pyrotechnics to light up all of Texas with Liszt’s fiendish, explosive Totentanz (“Dance of Death”).
It captivated listeners so completely when first premiered that an immediate, mid-symphony encore was demanded. More than 200 years later, from Hollywood to the concert hall, the bewitching “Allegretto” from Beethoven’s Seventh speaks to the heart just as intently - a vast, brooding midnight amidst a Symphony of sunny exuberance and surging high spirits. Kirill Gerstein kindles enough piano pyrotechnics to light up all of Texas with Liszt’s fiendish, explosive Totentanz (“Dance of Death”).
It captivated listeners so completely when first premiered that an immediate, mid-symphony encore was demanded. More than 200 years later, from Hollywood to the concert hall, the bewitching “Allegretto” from Beethoven’s Seventh speaks to the heart just as intently - a vast, brooding midnight amidst a Symphony of sunny exuberance and surging high spirits. Kirill Gerstein kindles enough piano pyrotechnics to light up all of Texas with Liszt’s fiendish, explosive Totentanz (“Dance of Death”).