Word: colish
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Dates: during 1950-1959
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...program opened with Bach's Brandenburg Concerto No. 5, in which Cynthia Crain, Annette Colish and Kenneth McIntosh all played with assurance the solo parts for flute, violin and keyboard, respectively (a piano was used for the original harpsichord). Though technically a concerto grosso, this work is in a sense the first real solo concerto for keyboard, owing to the general prominence and the extended cadenza allotted to it. McIntosh's runs were as even as pearls, and he exerted admirable dynamic restraint throughout (his versatility even extended to playing the horn in the other works). The initial orchestral tempo...
Bach's Concerto for Two violins requires some sense of equality-though not identity-of the two solo parts. Annette Colish and Diana Stevenson both performed with accurate phrasing and intonation, but Miss Colish's sound completely overpowered her partner's smaller tone. Mr. Shapiro let the orchestra become simply a support for the soloists. This may not be authentic concerto grosso style, but it is greatly preferable to the brazen display of Interpretation" offered by some other conductors...
...Casler's review of Annette Colish's Sunday night violin recital at Adams House was of general interest throughout the University, not only to music lovers but also to fans of Noah Webster...
...rich, livid tone" of Miss Colish's rendition of Debussay's Sonata No.3 leaves some doubt in the readers' minds as to Mr. Casler' s appraisal of her "musicianship.' Are ashy pale tones consistent with "professional" playing...
Even better was the Debussy Sonata No. 3. Playing like a professional, Miss Colish took the tricky rhythms in her stride and exhibited a rich, livid tone that had been absent earlier in the evening. Skillful modulation of phrasing and dynamics, ranging from sudden bold contrasts to the subtlest of nuances, helped to make the sonata a glowing and multicolored organism...