Word: concertos
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Unheeded Advice. When a student tackles a technically difficult piece, like the Wieniawski concerto, Galamian makes it a little more difficult by asking quietly: "Sure you are ready to play this?" He means from memory, the way he plays everything. Surprisingly, he never did much concertizing of his own. How could he, when he was 14 at the time of his first lesson? His first lesson as a teacher, that is. When he talks about his childhood in Moscow, he says only that he was the son of an Armenian cotton merchant, a shy boy who wanted...
Keeping the Momentum. Cliburn, now 34, has not always played so well in recent years. In Manhattan alone, three of his appearances in the past two seasons-especially a performance of Chopin's Piano Concerto No. 1 with the New York Philharmonic in May-were considerably off his best form...
...more conventional patterns of the music business, he makes fine music that also sells. In the ten years since he won the Tchaikovsky Competition in Moscow, he has sold 3,000,000 albums-more than 1,000,000 of them the version of the Tchaikovsky First Piano Concerto that vanquished Moscow. His collection, My Favorite Chopin, has been on the classical bestseller lists for 138 weeks...
...Bach Society Orchestra's programming of two of the Opus 6 concerto grossi was a welcome step into the edifice of Handel's creations. The set of twelve concertos comprise the finest English instrumental music written until this century. There can be no doubt that Handel, although born in Saxony and raised on Italian opera, is a thoroughly English composer. He arrived in London during the interregnum left by the death of Purcell in 1695 and the first works of Thomas Arne twenty years later. By 1710 Handel had subsumed into his Italianate idiom the brilliant scoring, deep love...
...BACH SOCIETY had considerable difficulties with the first of the concerto grossi, which was hampered by dynamic monotony, struggling second violins, inaudible violas, and a methodical trio of soloists. All of these problems unhappily converged in the second and fifth movements. Miss Lisa Sandow, the first solo violin, and Miss Ruth Rubinow, the solo cello, rivalled each other for tonal monotony and absolute abandonment of nuance. Miss Janet Packer, the second solo violin apparently sensed this lackluster playing and performed with considerable artistic concern. The second concerto, distinguished by a beautiful first movement, fared much better with Tison Street...