Word: cellos
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Dates: during 1960-1969
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...pleasant, jug-eared young man of 20 who likes to fly planes, drive sports cars, play the trumpet and the cello, and who once delivered a very creditable Macbeth on a school stage, Charles is stuck in history. It is his blessing and his burden to be destined to become Charles III, the 41st sovereign of England since the Norman invasion. He will inherit a throne that, for all the erosion of empire and the straitened circumstances of the scepter'd isle, remains the most prestigious in the world...
Steve Allen will host the series of summertime music festivals, with "Casals in Puerto Rico" coming first. Ninety-two-year-old Cellist Pablo Casals conducts Mozart's Symphony No. 38 in D Major ("The Prague") and Brahms' Concerto in A Minor for violin, cello and orchestra, with Yehudi Menuhin and Leslie Parvas...
...better than Brahms. Today he is one of the forgotten men of English music. The years have been equally hard on other romantics on the Butler program. Belgium's Henri Vieuxtemps was perhaps the greatest violinist of his day, but until Cellist Jascha Silberstein performed his Cello Concerto in A Minor, it had never been heard in the U.S. Sigismond Thalberg was Liszt's great rival at the keyboard and a composer of considerable skill. Yet his lively fantasy on The Barber of Seville, exuberantly played at Butler by Pianist Raymond Lewenthal, is now a rarity...
Born in St. Joseph, Mo., Hawk began to play the piano at five, the cello at seven, and was fingering a sax at nine. While playing with Singer Mamie Smith's Jazz Hounds on a Manhattan gig, Hawkins, then 19, was heard one night by Band Leader Fletcher Henderson, who signed him and kept him for eleven years. Hawk developed his particular sound-breathy, but also powerful and deep-grounded-in part, as he once said, "because I was trying to play over seven or eight other horns all the time." In 1939, while working with his own combo...
...guitar, there is Segovia; for the cello, Casals; and for the tenor saxophone, there was Coleman Hawkins. Before him, the instrument was a straw among the winds, used only for nasal accents in the background of jazz bands. "Bean," as Hawkins' friends called him, transformed it into an expressive solo voice that could breathe lyrical long tones on ballads or erupt into flights of dazzling arpeggios. In a sense, it could be said that he created the tenor sax, and players from Ben Webster to Sonny Rollins and John Coltrane have acknowledged their debt to his inspiration and style...