Word: bach
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Dates: during 1950-1959
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...Grim critics, with knives sharpened and hatchets drawn, were on hand to slice up youthful (31) Karl Richter, regarded by loyal fans as the greatest musical talent of his generation in Germany. Organist-Harpsichordist-Conductor Richter had committed a double crime: irreverence for the mighty Bach and the almighty critics...
...contrast to the strolling guitar players who frequented the Capriccio, Bach fugues and fifteenth century canciones provide background music at the Mozart. "I much prefer to listen to Schweitzer play Bach than have someone strumming in here. Besides I don't like the guitar much--except for Segovia. I also try to discourage the exhibitionist tendency so often found in today's coffee houses, and I think it is very well discouraged here...
Almost too slight-looking for his muscle-straining art, Shafran handled his instrument as if it were no bigger than a fiddle. In two programs he ranged from the Khachaturian cello concerto to a Bach suite to Debussy pieces. He played with uncanny accuracy and ease, demonstrated his power by the zing of his attacks, especially in the way he clouted his instrument in loud pizzicato chords. At quieter moments, he laid his cheek against the neck of the cello as if it were a pillow. Shafran's tone was big and creamy, his cantilena as expressive...
...their first joint number, the Choral Society and the Dance Group performed Bach's Guter Hirte, Trost der Deinen. The choreography for two women and a man had little rapport with the Bach, and all by itself was pretty poor. The three dancers did not seem agreed as to the meaning of the simple pastoral dance they were trancing their way through. The Bach was followed by Two Choruses from Alice in Wonderland. The Lobster Quadrille, featuring six girls in red flannel pajamas playing crustacean, was not art but was lots of fun. Father William was charmingly danced by Jane...
...first piece on the program, Bach's Suite No. 3 in D, showed immediately the tremendous improvement in the violins, whose tone is beginning to sound professional. The 'cellos and basses sounded weak, as they did later in the concerto, and they failed to provide the strength and insistence so essential to the crucial bass line in both Bach and Brahms. It was also disappointing to have the "French overture" rhythms played incorrectly, losing all their force...