http://classical-scene.com/2009/06/09/%c2%a1sacabuche-on-the-fringe-of-the-baroque/ a virtual journal and blog of the classical music scene in Boston Fri, 10 Feb 2012 03:51:58 +0000 hourly 1 http://wordpress.org/?v=3.3.1 http://classical-scene.com/2009/06/09/%c2%a1sacabuche-on-the-fringe-of-the-baroque/comment-page-1/#comment-484 José Rey Sun, 14 Jun 2009 13:46:36 +0000 http://classical-scene.com/?p=1140#comment-484 I am happy to concur with all of the positive points mentioned in this review but would like to add that the Froberger solo played by the group's keyboardist, Yonit Kosovske, was one of the high points of the concert, not simply because of the textural change which it afforded the program, but more importantly because the the player's sensitivity and expressive playing, something not easily accomplished on the historic organ. Anyone left with doubts as to Ms. Kosovske's musicality at the keyboard would have been thoroughly convinced after her performance the following Friday morning at Glenn Guittari's "WIP" series at the Festival, where her mini-recital of solo Frescobaldi works was truly a pleasure to hear. Although some fans of the harpsichord might pooh-pooh the notion of more than one piece by the composer within a given program, Kosovske showed that a player's sensitivity and approach can make all the difference. I am happy to concur with all of the positive points mentioned in this review but would like to add that the Froberger solo played by the group’s keyboardist, Yonit Kosovske, was one of the high points of the concert, not simply because of the textural change which it afforded the program, but more importantly because the the player’s sensitivity and expressive playing, something not easily accomplished on the historic organ. Anyone left with doubts as to Ms. Kosovske’s musicality at the keyboard would have been thoroughly convinced after her performance the following Friday morning at Glenn Guittari’s “WIP” series at the Festival, where her mini-recital of solo Frescobaldi works was truly a pleasure to hear. Although some fans of the harpsichord might pooh-pooh the notion of more than one piece by the composer within a given program, Kosovske showed that a player’s sensitivity and approach can make all the difference.

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