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...Miss Posselt also finds her rehearsal time a bit limited, for she has seven and three-year-old children. Of the nine concert that Miss Posselt offered to play, the Pierian executives--who run the orchestra--decided upon Hindemith's Violin Concerto. Her knowledge of that piece is a benefit derived from her marriage...

Author: NO WRITER ATTRIBUTED | Title: Orchestra Gives Easter Concert With Violinist | 3/24/1951 | See Source »

...Ruth Posselt, in the Sonata opus 108, flung herself into the music (endangering the limbs of the 30 people sitting on the stage), turned the first movement conflict into one hell of a brawl, handied rhythmical complexities with fine spirit, and, despite an occasional aggravating tremolo and an E string that was always about to roll over and die, gave a satisfying and exciting performance of the piece...

Author: NO WRITER ATTRIBUTED | Title: MUSIC BOX | 11/30/1945 | See Source »

Scheduled for the chamber music concert will be five works composed by Copland and Walter Piston, an associate professor at the University, Ruth Posselt, Jesus Maria Sanroma, Richard Burgin, Jean Bedetti, and Irving G. Fine '37 will be the supporting artists...

Author: NO WRITER ATTRIBUTED | Title: COPLAND CONCERT TO BE GIVEN TUESDAY EVENING | 4/21/1944 | See Source »

Give Out! is the work of one Eric Posselt, who thought there ought to be a book of songs sung by servicemen, not at them. He ruled out Tin Pan Alley and Hollywood tunes (except for parodies masculine or martial), tracked down the favorites of the corps and the camps. The collection includes the solemn, the irreverent, the rowdy. There is a long-faced hymn of high resolve by Robert E. Sherwood (Tune: The Battle Hymn of the Republic). Another contributor is Beatrice Ayer Patton (wife of General "Blood & Guts"), whose March of the Armored Corps is appropriately scored...

Author: /time Magazine | Title: Army & Navy: Keep 'em Blushing | 9/13/1943 | See Source »

...season by the Boston symphony orchestra. Described by its perpetrator as "having certain earmarks of the sonata form without being written in that form at all," his Concerto for violin and orchestra was a meaningless mass of dissonances which effectively disguised the technical ability of the soloist, Miss Ruth Posselt. The allegro molto seemed to lack any structural form and wandered aimlessly through a series of cacophonous variations on the first subject. The second movement, valse, combined an absurdly technical display by the soloist with a weak background on the strings. Several abrupt pauses in the final movement punctuated...

Author: NO WRITER ATTRIBUTED | Title: THE MUSIC BOX | 3/19/1943 | See Source »

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