Word: pizzicato
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...rehearsals, where Menuhin turned up in cinnamon-colored shorts, the full spirit of dedication remained. "Bravo for the pizzicato!" Casals would cry, while through the door peered the Casals cultists: thick-spectacled German music masters, a pony tail from Paris, a pair of combs from Catalonia, a Fulbright scholar, a darkly gowned queen (Elisabeth of Belgium)-all hushed to silence in the presence of the eternal creative mystery...
...this work, notwithstanding all the criticism of Brahms' orchestral form as too thick or unimaginative, needs an orchestra for many reasons, as the substitution of an organ, as in Sunday's performance, made painfully clear. The instrumental effects, such as pizzicato, used as a foil to the voices; the tonal texture of different groups of instruments; and the all-pervading crescendo and diminuendo which is so essential--all these are impossible for an organist...
...none of the solemnity of the classic ballet, are free and relaxed, like those of children racing in and out of games. The dancers tie themselves up in little knots and delight in getting out of them gracefully. As the music mocks itself-in a trumpet jeer or a pizzicato poke-the dancers mock the music with a hop, skip or bump. Most dramatic bits: Canadian-born Melissa Hayden's stunning solo variation and a languorous, sensual pas de deux exquisitely danced by Virginia-born Diana Adams and Arthur Mitchell, a talented Negro member of the company. The whole...
...were no bigger than a fiddle. In two programs he ranged from the Khachaturian cello concerto to a Bach suite to Debussy pieces. He played with uncanny accuracy and ease, demonstrated his power by the zing of his attacks, especially in the way he clouted his instrument in loud pizzicato chords. At quieter moments, he laid his cheek against the neck of the cello as if it were a pillow. Shafran's tone was big and creamy, his cantilena as expressive as if words were being sung. Critics raved. Said the Berliner Zeitung: "This artist must be counted among...
...Sonata for Violin and Piano was most successful in the fast outer movements. The first movement, in a modified sonata-form with a bit too much stop-and-go, adopted a Bartokian brutality and approach to dissonance; and the finale dared to end softly with an effective pizzicato and staccato section. Rzewski failed to realize, however, that the bottom range of the violin is easily covered up by too heavy a piano accompaniment. And his piano texture tended to fall into two extremes--simple parallel octaves, or thick massive chords--with little in between. The slow movement was much...