Word: b-flat
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...first half of the program thrust us into intermission in the wake of a rather dreadful anticlimax, the Suite in B-flat for thirteen winds by Richard Strauss. This childhood product suffers from the uneasy mixture of a strong Brahmsian influence with overly thick scoring in all but the last movement. The work occasionally possesses a deep sable ambience characteristic of Strauss and is permeated with his incomparable horn writing, but the material is for the most part as boring as a bog. Strauss' penchant for opaque writing, as if he feels guilty when someone isn't playing, only redoubles...
Substitute First Baseman. Even as a boy out of Blooming Grove, Ohio, "Winnie" Harding went in for nothing much more strenuous than tootling his B-flat cornet in the band. After five minutes of shucking corn, he gave it up for good, "saying it was too hard." At Iberia College-now Ohio Central College -his main interests were "debating, writing, and making friends," desultory preparation for the desultory professional floundering that followed...
...those moments that every performer dreads. Pianist Vladimir Horowitz was halfway through Rachmaninoff's Sonata in B-Flat at Manhattan's Carnegie Hall. And then-poing!-the sound of string #17 (bass A-note) giving way on the Steinway concert grand. An embarrassed unease settled over the hall while a technician frantically made repairs. Finally, Horowitz completed the piece and responded to the thunderous ovation with four encores. Said the famed firm's president, Henry Z. Steinway: "Each time this happens I want to crawl into the woodwork." Soothed Horowitz: "It's like a flat tire...
...powerful and precise technique, a gift for tracing long, soaring lines out of detailed figurations, and an innately tasteful musicality that spurns either maudlin moonbeams or brittle bravura. He puts it all to work in the Byronic B-Minor Third Sonata, playing with dash, sweep and refined lyricism. His performance of the Second, in B-flat minor, offers something more. Although not the performance of a mellow master like Rubinstein, it displays a subtle feeling for the shifting, subterranean currents of Chopin's emotion. There is an urgency in the scherzo, a brooding pathos in the famous funeral march...
...group's vocal range is as wide and impressive as that of their dynamics. The first tenors more than once soared into the ethereal region two octaves above middle C, while the second basses were continually plumbing the depths and at one point actually reached the third B-flat below middle...