Word: brandenburgers
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...program opened with Bach's Fourth Brandenburg Concerto, which conductor Michael Senturia kept at once precise and full-blooded, with especially rich, driving tone from the cellos. It was too bad the original idea of using recorders fell through, but no one could have wished for finer flute playing than that of Cynthia Crain and Fritz Kraber. Ruth Miller was mostly successful with the fiendishly difficult solo violin part, and the performance as a whole came within only a few slips in intonation of being masterful...
...radio by fans. The Maestro listened to every taped version, gave qualified approval to the most acceptable, and indicated what passages from other versions he wanted substituted. In some cases he demanded only one or two inserts. But before he would approve a performance of Bach's Brandenburg Concerto in F, engineers had to make more than 100 splices in less than eight minutes of music. The recordings are therefore not so much historically accurate Toscanini performances as they are showpieces which indicate what kind of performance the Maestro would have liked to achieve if both...
...Berliners, no statue was more beloved than the great copper-plated goddess of victory driving her four 12-ft. horses proudly atop the 69-ft.-tall Brandenburg Gate. Completed in 1794, the Quadriga of Victory was the most famous work of a minor Prussian court sculptor, Johann Gottfried Schadow. But it caught the admiring eye of Napoleon as he rode in triumph through the gate in 1806, and the conqueror ordered it carted off to Paris. Brought back again by the Prussians in 1815 (when it acquired an iron cross surrounded by an oak leaf topped by an eagle...
Bach: The Brandenburg Concertos (Vanguard, 3 LPs). Marked by brilliant projection of musical subleties and sheer virtuosity...
...program opened with Bach's Brandenburg Concerto No. 5, in which Cynthia Crain, Annette Colish and Kenneth McIntosh all played with assurance the solo parts for flute, violin and keyboard, respectively (a piano was used for the original harpsichord). Though technically a concerto grosso, this work is in a sense the first real solo concerto for keyboard, owing to the general prominence and the extended cadenza allotted to it. McIntosh's runs were as even as pearls, and he exerted admirable dynamic restraint throughout (his versatility even extended to playing the horn in the other works). The initial orchestral tempo...