Word: cello
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Dates: during 1950-1959
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...Cello. Magazine circles were little better. The New Republic was run by "kept idealists," and the Nation was staffed "by men and women who were suffering the change of life." Mencken's high jinks masked low insight, according to Angoff, and Mencken never fully understood even the writers he championed, e.g., Dreiser, Sherwood Anderson, Sinclair Lewis. He thought Henry James "was an idiot, and a Boston idiot to boot, than which there is nothing lower in the world, eh?" F. Scott Fitzgerald's The Great Gatsby was "poor stuff." Said Mencken of Hemingway...
Last week in Genoa some 2,000 visitors passed through the austere Villa Doria, examining and occasionally touching 189 graceful and lustrous stringed instruments, including one cello, 16 violas, 171 violins. The oldest was a small, ornamented Gasparo da Salo, dated 1609; the most famous was Paganini's own powerful Guarneri del Gesu, given to him (by a wealthy Leghorn merchant) on the condition that nobody else would ever perform on it; the most prevalent were modern models patterned closely after Stradivari designs. Because of their popularity among wealthy foreign fiddlers, there were no Strads at all available...
Dashed from Church to Adams Common Room and caught last half of House's chamber music concert. The novelty on the program was Wenzel Matiegka's charming if uninspired trio for flute, viola and guitar, with 'cello part added by Schubert; ensemble a bit ragged, but guitarist Richard Zaffron contributed delightfully quaint twanging and strumming. Flutist Karl Kraber ended concert by deftly tossing off virtuoso solo part in Telemann's sturdy A-Minor suite for flute, strings and continuo...
Thus prattled Paris' Francois Baschet, 36, an enterprising fellow who has been spending his nights inventing instruments to give the listener something new: "A cello with an echo, an instrument that sounds like the human voice, a piano that weeps-an infernal clavier. If I make 21st century instruments for the 20th century, tant...
...only non-instrumental music on the program were some songs by Stephen Addiss '57. "Confitebor tibi," for baritone and 'cello, did not come off very well. The ungratefully jagged vocal line posed inevitable intonational difficulties. Since the music bore no relation to the text, I think the piece would fare best as a purely instrumental duo. On the other hand, "Dream" and "Go Seek Her Out," both for soprano, were truly vocal conceptions, the first with a chordal accompaniment for two clarinets and 'cello, and the second with an attractive arpeggiated piano background. It was a welcome relief, furthermore...