Word: cellos
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Dates: during 1940-1949
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...ever had such a task in his life . . . In order to finish this work as Bartok would have finished it, I had to put myself in a dead man's mind." Serly completed the score for viola (after rejecting the notion of adapting it for the more popular cello) and worked out the full orchestration...
Leroy Anderson doesn't have time to play his trombone--or his tuba, double bass, organ or cello, for that matter--any more. But no one scems to mind. People who have heard "Wintergreen," "Fiddle-Faddle," or "Sleigh-Ride," are quite willing to settle for Anderson as a composer...
...cello, on the other hand, frequently could not be heard. On a few rare occasions it could be heard all so much. During the rondo movement of the Sonata G minor and the last movement of the Sonata in A major it went distinctly flat. The general impression created was that Mr. Brown was nowhere near up to the technical standards that the piano was setting. He played too quietly and lacked the precise timing necessary in the fast movements...
Beethoven write very few sonatas for the piano and cello, probably because it is so difficult to coordinate the widely varying sounds of these instruments. But the sonatas nevertheless did succeed in mastering the difficulties of composition imposed by the two instruments...
...great difficulty with the actual performance of these works was that the men frequently destroyed this masterly. Beethoven made the cello part the more important occasionally, made the two parts equal the rest of the time, and almost never put the piano into prominence. Unfortunately, Wednesday night the cello part was only occasionally equal to that of the piano and frequently less prominent...