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Rained In
I must take exception to the word "odd" in this review. Every modern keyboardist's go-to sound patches are those that combine percussive attack with enduring sustain. McGill's legato and Smith's pluck were never so much odd as wonderfully and playfully complementary. Not to subtract at all from the string section's supportive artistry, but the suave yet effervescent dialog between flute and harp needed no moderation. Mozart quite clearly understood the possibilities of interplay between these two very complementary instruments, as we all heard last night when McGill's flute and Smith's harp so expertly sold us on the unity, artistry and beauty of Mozart's composition. (Which, happily, was in C Major.)— February 28, 2010 7:21 p.m.