Word: pizzicato
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...started, so Anderson decided that he would not have to teach after all, and quit Harvard. Before he could leave for New York, however, Arthur Fiedler, director of the Boston Pops, asked him to start writing for the orchestra. Beginning with "Harvard Fantasy" in 1937, and continuing with "Jazz Pizzicato" and "Jazz Legato," Anderson's compositions have become perennial favorites of Pops audiences...
...game that was going to be fun. Most of the instruments got their chance to shine. Boomed the narrator, Nelson Olmsted: "First I invented the flute [deep blue solo]. Next, the oboe [etc.] . . . But that wasn't all I needed. I had to have -Sharps and flats and pizzicato, Molto Lento and staccato, Treble clef, ritard, repeat, Allegro, chord, and boogie-beat, Major, minor, jig, and waltz, Scherzo, downbeat, jazz, and smaltz, Jukebox, drumstick, and Puccini, Bassoons, batons and Toscanini...
There weren't enough bows for the fiddles, so some played pizzicato (plucking) all the time. To get hair to make more bows for the fiddles, the prisoners surreptitiously plucked strands from the tail of the horse that pulled their food cart at mealtimes. How did his orchestra sound? "Well, not like the New York Philharmonic." How was the violin he played himself? "Fine," said Violinist Goldberg, "except it had guitar strings...
...hardly worthwhile to find little faults with the orchestra. Van Slyck conducted with confidence, kept the players together at all times, and built the music logically and skillfully. I did object to the concertmaster's obtrusive leadership throughout all the music--in the Bach his pizzicato was louder than the soloist's. The few peculiar noises which eminted from the violin section did not appear during the Bach work, possibly because of the foundation which the piano provided. All in all, the concert was a great success, a combination of good programming and superior performance...
...gauntleted hand of Director Leonard Feather, whose outlook on hot music is in general futuristic, can be detected. Tenor saxophonist Don Byas, and violinist-trumpeter Roy Nance, vie with each other to see who can try the most technical innovations in sixteen minutes. Nance even drags in a little pizzicato on one of his opening violin choruses. Through it all, however, snatches of Heywood may be heard which, though a bit incongruous in such company are responsible for whatever merit there is in this half...