Word: b-flat
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...other novelty was Handle's Harp Concerto in B-flat. Soloist Sally Day traversed her fiendishly difficult part with ease and grace. The total effect was a treat to the car, and to the eye as well...
...musician knows, it takes a lot of brass to be a tuba player. Generally, tubas range in size from the B-flat tenor (10 Ibs., 151 in. of tubing), which is hugged to the player's chest and sometimes goes pah-pah, to the large, economy-size B-flat bass (29 Ibs., 387 in.), which is often worn somewhat like a life preserver and mostly goes oompah. One thing that tuba players have in common is a fear that audiences are laughing at them. To many nonmusicians, indeed, the tuba appears absurd -there is always some fellow...
...started. Toscanini listened intently, poring over the score, at times reconducting the music. In his high-collared rehearsal jacket, he looked like a priest. Then suddenly, the fireworks began. Wrathfully, he turned to Soprano Nelli, scolding and pointing at his score. She had, Toscanini argued, sung a B instead of a B-flat! Nelli pointed at a clear B in her score. She had sung from that score for years, and no other conductor had ever caught the error before. Dutifully, Soprano Nelli restudied the passage, but when she was set to record again the red "ready" light failed...
Mozart's Due in B-flat is numbered 424 in the Kocchel catalog, but it sounds much carlier. Mozartean good spirits are here in abundance, but the work lacks a melodic and rhythmic inventiveness. Mr. Fuchs and his less famous but thoroughly accomplished sister reached the heart of the music from the very start. They played with precision, but not of the machine-gun variety. Every phrase received individual treatment, according to what preceded and proceeded it, as well as to its own unique factors. In addition to being consistent with the music, the two interpretations were consistent with each...
...Southern California's Leon Kirchner, 34, is both attractive to the ear in its warmth and strength and stimulating in its complexity. Its closest musical relative is Bartok, but its fading repetitions, its wistful interludes and its snarling climaxes are thoroughly individual in effect. Another, Quartet in B-flat, by Guggenheim Fellow Andrew Imbrie, is packed with up-to-date invention and energy, but it is an undergraduate work (1942), shies clear of the more ardent expression that the 32-year-old composer dares today...