Palm Beach Daily News from Palm Beach, Florida • Page A005

BLACK 5A pagelabeltag Palm Beach Daily News, Thursday, November 15, 2007 A5 Levitz reward offer rescinded Jacqueline Levitz was discovered missing Nov. 20, 1995. Her body has never been found nor has anyone been arrested in her disappearance. Final distribution of estate leads family to end $200,000 offer in case of heiress missing since 1995. A $200,000 reward offered more than 10 years ago by the family of missing furniture heiress Jacqueline Levitz has been rescinded.

Palm Beach Gardens attorney Robert Marschall, who represents Levitz's estate, issued a statement saying the family is no longer offering the reward due to the final distribution of her estate. Levitz's only child, Walter Bolton, died about a year ago. Levitz, 62, went missing Nov. 20, 1995. Family members found the door ajar to her red brick home in Vicksburg, Miss.

Inside, there were signs of a struggle. Police found broken tips of fake fingernails, and blood on the floor and on a mattress that had been flipped to hide the stains. Levitz had moved from her home in Palm Beach to Vicksburg five weeks earlier to be closer to family. Her body has never been found nor has anyone been arrested in connection with her disappearance. MICHELE DARGAN Daily News File Photo MAGENTA 1 REVIEW Fine Norwegian Craftsmanship There is no substitute for time when it comes to prevention care.

Donald R. Watren, MD will make sure you get the time you need. Convenient, in-office blood draws, x-rays, EKG ultrasounds Annual MDVIP physical exam and wellness plan Same or next-day appointments I 561.655.8990 Bergen Philharmonic Orchestra, pianist Watts deliver beautiful program with precision, flair. By MARCIO BEZERRA MDVIP Personalized Preventive Health Care I www.MDVIP.com iTeachMacs Master your Apple Macintosh computer in the privacy of your home or office. Photo Courtesy of the Kravis Center The Bergen Philharmonic brought fine interpretation and collaboration to myriad selections, including a blend of romantic virtuoso writing with Norwegian folk music Tuesday at the Kravis Center.

L4 Digital Photography Email Internet Mac OS Technical Support Wireless Networking Special to the Daily News Another season, another roster of stellar symphonic ensembles coming to the Kravis Center's Regional Arts Concert Series. And, if the first concert by the Bergen Philharmonic Orchestra, was a prediction of what is to come, South Florida is in for a treat. Throughout the Tuesday concert, one heard an assertive brass section, lush strings and precise woodwinds, all working in good harmony under the baton of Music Director Andrew Litton. Founded in 1765, the Bergen Philharmonic is one of the world's older orchestras, and it has been directed by some celebrated conductors, including Norway's foremost composer, Edvard Grieg. This weight of history and tradition translate in the orchestra's solid ensemble work and in the excellence of its individual sections.

The Bergen program opened with the little -known (outside Norway, at least) Ballad of Revolt by Harald Saever-ud. A cry against the German occupation, this 1943 work is the orchestral version of a piano piece. Rather neoclassical in style, the work is a single sweeping crescendo that ends on an optimistic note. Before its climax, it highlights each orchestral section by giving them extended passages. At Dreyfoos Hall, the Bergen Philharmonic showcased its dazzling precision and dramatic flair, making a strong case for Saeverud's music.

The same precision and serious ensemble work was displayed in Grieg's Piano Concerto in A Minor, Opus 16. Arguably the most popular work to come out of Norway, the concerto is a blend of Call Tom 775-8241 romantic virtuoso writing with Norwegian folk music. Formally, it is a well-crafted, albeit rather formulaic, work. Fortunately, the sheer beauty of its themes and the ingenious ways in which they are introduced compensate for any shortcomings in the work. Pianist Andre Watts joined the Bergen Philharmonic in a reading that emphasized the work's lyricism.

Indeed, it is rare that pianists take the first movement in the allegro moderato indicated on the score. Watts approach was almost too moderato but, thanks to his total command of the instrument, the concerto never dragged. Also remarkable was the collaboration between Watts and Litton: the two sounded to be in agreement of tempi, dynamics and agogic accents. The result was an extended standing ovation by an audience that did not seem to get enough of the Norwegians. That same enthusiasm was shown at the end of the program's second half, which featured Piotr Ilyich Tchaikovsky's Symphony No.

4 in Minor, Opus 36. Indeed, shouting "bravi" and "encore," the audience made Litton return to the stage six times, before being obliged with Dmitri Shostakovich's Festive Overture. Unfortunately, that second acclaim was less deserved, for Litton's reading suffered from a lack of finesse in most movements. Sure, the orchestra still sounded powerful and concisely coordinated, but dynamics' control was a recurrent issue and most of the climaxes were reached without preparation. The exception was the third movement, an extended pizzicato piece in which the full potential of this venerable ensemble was, once again, fully displayed.

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