Word: bruch
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Dates: during 1960-1969
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Fire & Flair. Cookie and Pinky have a knack for putting their personalities into their playing-a surprising achievement at an age when most young musicians merely display a coldly glittering technique. Cookie's performance of Bruch and Mozart was sensitive and finely shaded; in passages of Beethoven and Saint-Saens she showed grit and fire as well. Pinky, tapping his feet and swaying into a sort of golfer's follow-through, plunged with intuitive flair and gusto into music by Vivaldi, Bach, Mozart and Tchaikovsky, and his broad, compelling tone filled up the hall...
...GLORY OF CREMONA (Decca). For an elaborate and instructive violin lesson, Ruggiero Ricci collected $750,000 worth of great instruments, including six Stradivarii and five Guarnerii. To show their differences, Ricci plays on each the same short phrase from Bruch. To bring out their beauty, he plays on each a different short piece (Tchaikovsky, Vivaldi, Paganini, Handel, Brahms). "The more output and resource an instrument has," Ricci says, "the more difficult it is to handle." He proves that he can handle them all, but like Heifetz and Stern, he favors the Guarnerii, capable of more bite and passion than...
...with an old Russian friend, Pianist Vladimir Horowitz. It was not until after World War II, when he married and settled down in Manhattan, that he began to build a reputation as something more than an extraordinarily gifted virtuoso. Milstein is still a master of the bravura composers-Max Bruch, Sarasate-but he has found new and interesting things to say about Brahms, Beethoven, Bach. The keynotes of great Milstein performances are their flash and fire. Milstein is willing to take chances-on trip-hammer tempos, flashing colors, amazing fluctuations in volume. His taste as a listener runs to chamber...
...whom were, like Milstein, trained by the late great Leopold Auer. In the generation that has passed since Milstein first appeared on the U.S. musical scene, he has transformed himself without fanfare from a dazzling virtuoso to a mature master, not only of bravura composers such as Max Bruch and Sarasate, but of Brahms, Beethoven and Bach. Little interested in contemporary music ("I am not a pioneer; perhaps my taste is bad"), he has won a vast audience to his sensitive readings of the classics...