Word: partita
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Dates: during 1950-1959
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...sprightly Three Songs for Bass and Orchestra by Chicago's late Edward Collins. As a counterpoint to such commissioned modern works, Conductor Johnson offered some elegant, rarely performed echoes of the 18th century; the Sinfonia Concertante in E-Flat, by Johann Christian Bach (youngest son of J.S.B.), the Partita in A Major for Viola and Orchestra, by French Composer Louis de Caix d'Hervelois...
...music. Along with the big technique and virile style, Lipatti had a remarkable ability, as his teacher Nadia Boulanger noted, to "see better and hear more than we do." In the present, excellent Angel recording, there are few traces of the deadly strain under which Lipatti played. His Bach Partita No. 1 is as coolly articulated and elegant as a jeweled clock, and his Mozart Sonata No. 8 in A Minor (K. 310) seems the reflection of an absorbed and unruffled musical mind. Only an occasional slurred passage in the Chopin waltzes hints at the ordeal at the keyboard...
...perform, either solo or in chamber-music ensembles, e.g., last week Claude Monteux, son of the conductor, accompanied by Composer Henry Brant at the piano, in a program of new and traditional works, including Milhaud's Sonatine, a Haydn Sonata in G and Brant's own Partita in C. Why there should be such a persistent demand for a flute club-as opposed to clarinet clubs or bassoon clubs-not even the club officers have been able to determine. Says one: "There's just something about the flute, I guess...
Teams of carpenters and painters hurried through the streets of Naples last week to perform some quick alterations at more than 90 precinct offices of the city's dominant political party. Speedily the workmen painted out the words Partita Nazionale Monarchico and its star & crown emblem. In their place they painted Partita Monarchico Popolare and nailed up a new emblem, two lions rampant and a crown...
...performance of the Chaconne from Bach's D minor Partita is bound to fall short. The notorious difficulty of the piece makes it virtually unplayable, and any evaluation must be based on a comparison with some mythical perfect performance. Criticism thus becomes even more subjective than usual. Mr. Fuchs' idea of the music as a gradual build-up in tension followed by a gradual release, with regularly-spaced interludes of quasicommentary, is extremely provocative. His failure to sustain and integrate this conception was caused primarily by the physical demands of multiple-stops and prodigious leaps that frequently leave interpretation behind...