Word: posselt
(lookup in dictionary)
(lookup stats)
Dates: during 1950-1959
Sort By: most recent first
(reverse)
...orchestra, besides performing accepted classics, has kept the Cambridge public aware of new musical work. Music by Shostakovitch, Piston, Mennin, and Vaughan Williams has appeared on the H-R O program, despite the objections of reactionary elements in the Cambridge audience. Soloists such as Ruth Posselt, Joseph Szigeti, and Johanna Martzy have performed in Cambridge under Pierian's auspices, and university hopefuls also
Dallapiccola: Tartiniana (Ruth Posselt, violin; Columbia Symphony conducted by Leonard Bernstein; Columbia). Italy's most famed modernist in a mellow mood. Two of the four movements start with themes by 18th century Violinist-Composer Tartini, then gradually, smoothly warm up to entrancing modernity. All of the movements seem to weave Tartini's melodies serenely for a while, then get involved in the implications of their own patterns; at other times the old tunes appear in a kind of bas-relief against a background of alien dissonance. A fascinating composition...
...Cambridge Society for Early Music devoted all three of its concerts this fall to works by Johann Scbastian Bach. In the second concert, Ruth Posselt was the featured soloist in three of the rarely performed Sonatas for violin with harpsichord and continue. I admired especially the rhythmic vitality and sharpness of articulation which she brought to these works. Her dramatic vibrato, however, seemed out of place in the stately declamation of the E major Adagio, while the following Allegro sounded overly stiff, and other occasional nuances of mood were only slightly indicated. Yet within her conception, the performance was minutely...
...corelli concerti were only slightly less unpressive than the Handel, largely because they were eclipsed by the vutnese pertormance ruth Posselt gave to Corelli's A major violin sonata. Her flawless rendition of a breath taking perpetua mobile-type movement as well as her scrupulously clean articulation all evening again marked her as a technician of the highest order and her interpretations were colorful and exciting though never lacking in taste...
Wednesday night's concert, the second of three, began with a Concerto for violin, cello, and harpsichord by Couperin. Ruth Posselt, the new violinist, is the competent, unspectacular kind of performer who subordinates herself to the music at hand. Her easy-going interpretation was perfect for this comparatively light-weight work. 'Cellist Samuel Mayes, who appeared in all eight parts of the program, showed remarkable versatility. His tone was full and rich in the important solo sections, but in the later continuo passage he held himself down so that one could barely hear him over the harpsichord...