Word: juilliard
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Antonin Dvorak: Piano Quintet in A, Op. 81 (the Juilliard Quartet, Rudolf Firkusny pianist, Columbia; the same work played by the Cleveland Quartet, Emanuel Ax pianist, RCA). This concert perennial is easily recognized by its opening second movement theme, a sound- alike for the late 1940s popular song Nature Boy. The quintet is often said to reflect the composer's sunny, lyric disposition, and even the swift changes in tempo and sudden clouds of melancholy cannot dampen the work's high spirits. Both the Juilliard with Firkusny and the Cleveland with Ax are faithful to the Dvorak spirit...
...Carter has not entirely done away with the usual White House practice of reaching to Hollywood or Broadway for entertainment at black-tie evenings, but he has managed to import classical stars like Pianist Rudolf Serkin, who played at the state dinner for Mexican President Lopez Portillo, and the Juilliard String Quartet, which played during Inaugural festivities in the East Room. After the guests had departed. Carter apologized to the quartet for not being able to give his full attention to the music and asked if they would perform an encore. Following a stirring rendition of a movement of Haydn...
...SECOND FACTOR was undoubtedly the presence of violinist and conductor Oscar Shumsky. Shumsky is a prominent faculty member of the Juilliard School and an honorary director of the Violin Society of America. Yet he is not well known outside musical circles or beyond the New York area. He should be. He is a superb violinist and a superb music coach, as the concert revealed. Shumsky has a clear sense of professionalism, and evidently instilled the same sense in HRO, which became an unusually responsive body under his direction. He employs an instructive rather than brilliant technique; he knows exactly what...
Persichetti, head of Juilliard's theory department, has woven an intricate piece of pervasive undercurrent themes and harmonies, based on fourth intervals rather than the traditional thirds. The concert band's playing was coordinated; not too restrained and quite fluid. Its mastery of contrasting ominous percussion in the opening Adagio and wild dynamics in the ensuing Allegro was conspicuous. The reflective, nicely sustained passages of the muted brass in the second movement, along with the fine ensemble of the baritone horns' tone color in the Allegretto showed that a concert band can indeed render a sensitive performance of a demanding...
...concerts finished, Karajan moved over to New York's Juilliard School to give a three-part master class for aspiring conductors. Pausing during a rapid-fire series of prickly comments ("I am not here to teach you tricks"), he recalled the days when he was a child taking riding lessons. On the night before his first jump he was sleepless with worry. " 'How can I lift this enormous thing up into the air and over the fence?' I thought to myself. Then I realized no one lifts the horse. You set it in the right position...