Word: raveled
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...Paganini Quartet to retrieve Ginestera, currently Argentina's leading composer, from the limbo to which serious Latin American composers are relegated. Ginestera's Quartet No. 1 (1950) attempts, according to Henri Temianka, first violinist, to evoke ancient Aztec and Incan civilizations. It combines the performance effects of Ravel and Debussy, the rhythmic drive and insistence of Bartok, and a peculiar harmonic clarity which could be interpreted as simple-mindedness. Both the first and second movements, in spite of constant, rapid, and vigorous rhythms, remain static on D. Open fifths, played tutti, reinforce the strength of the rhythms. The quartet suggests...
...play in Marseille when Francescatti was a boy. and the youngster never got over it. His father wanted him to become a lawyer, but Francescatti had his mind made up; he would be a fiddler. He made a success ful Paris debut in 1925, later toured England with Maurice Ravel and English Soprano Maggie Teyte. He was already a major name in Europe when he made his U.S. debut with the New York Philharmonic in 1939. His sweet and singing tone and his flowing, sinuous style were an immediate success. Francescatti summers at his villa on the Riviera, seldom plays...
...transition from Bach to Ravel's Payane pour une enfante defunte justified Boyk's bypassing the tradition of chronological order in programming. This unusual juxtaposition sounded natural, although the Ravel, both composition and performance. suffered by comparison with the Bach: the piece meanders, and Boyk lost the melody en route...
...York Philharmonic Young People's Concert with Leonard Bernstein (CBS, 7:30-8:30 p.m.). Claude Debussy's La Mer and Maurice Ravel's Daphnis et Chloé are the central examples in a program that asks: "What Is Impressionism?" Lenny answers...
...muddy sound and lethargic spirit. On its third tour, it has seemed like a new orchestra. The sound is still heavier than that of U.S. orchestras but the heaviness no longer gets in the way of the music making. The Philharmonic contributed some performances nobody could forget-a shimmering Ravel Daphnis and Chloe, a surgingly powerful Bruckner Seventh Symphony, a glowing Beethoven Third, all of them conveyed with darkly colored intensity...