Word: cello
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Dates: during 1950-1959
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Beethoven's 'Archduke' Trio (1811), for violin, 'cello and piano, was the last great achievement of his middle period. It is almost symphonic in concept, and at times bursts the limits of the medium, as Beethoven was to do still more in his last period with such works as the Hammerklavier Sonata, the Grosse Fuge and the Missa Solemnis. The Trio posed for the composer a problem of balance between piano and strings. Beethoven's keyboard part is full of massive chords and rich arpeggios; to help compensate for this the string parts contain many double notes. The result...
...Mozart and Beethoven are so well known as to make inevitable a comparison, with professional standards. The musicians in the Mozart were Edward Filmanowicz and Ronald Hathaway, violins; Frederick Shoup, viola; and Charles Forbes, 'cello. The performance understandably lacked the polish ideally desired; the minuet movement was rather ragged and the first violin had some intentional difficulties. But the Beethoven performance was better than many I have heard from alleged superiors. Robert Freeman handled the exacting piano part with total ease, and Forbes displayed a consistently smooth tone and sure technique...
Although the concert was not a success, the orchestra has fine woodwinds and a strong 'cello section led by Charles Forbes. They have yet to play any contemporary music this year; careful programming and more rehearsal should result in fine concerts in the future...
...Harris: Abraham Lincoln Walks at Midnight (Nell Tangeman and chamber group; M-G-M). A deeply pulsing lament of heavy piano chords (played by Composer Harris' wife Johana) and elegiac countermelodies played by the violin and cello. Mezzo-Soprano Tangeman sings the Vachel Lindsay words with power and feeling to produce some fine music...
...farce and weekend melodrama, but when it comes to hearing the human heartbeat of a situation, Rattigan might as well be hunting uranium with an ear trumpet. Moreover, in The Deep Blue Sea, the leading lady does little to help. The part is scored, though crudely, for the full cello notes of womanly anguish; Vivien plays it in the thin pizzicato of girlish petulance...