Word: soloed
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Dates: during 1960-1969
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Very much like a Beethoven concerto, the song winds up to introduce the solo instrument, which in this case happens to be Ringo's slightly flat voice. Again, the Beatles are putting us on with engaging irony: After a million people have anxiously awaited the new album, spent the price of a steak dinner on it, and have left work early in hot anticipation of hearing it, Ringo sings "What would you do if I sang out of tune/ Would you get up and walk out on me?" However, Ringo's main appeal is for a "little help from...
...EVENING AT TANGLEWOOD (NBC, 7:30-9:30 p.m.).* Live from the Boston Symphony's summer home in Massachusetts' Berkshires, Erich Leinsdorf conducts the orchestra and Guest Solo Violinist Itzhak Perlman in selections from Mozart, Dvorak, Tchaikowsky and Saint-Saens...
...justifiably long outlived its original occasion. The piece is stylistic conservatism at its best; for sheer sensuous serenity it would be hard to beat. Yesterday's players were joined by thirty-odd members of the Summer School Chorus, well prepared by Professor Harold C. Schmidt. The concertmistress solo fiddling wandered off pitch a bit, and the orchestra in general never got as soft as it should have until the final cadence; but there were delectable sounds all the same, and of the five vocal soloists Vicki Hall's soprano was simply ravishing...
...year's most fascinating-and briskly selling-classical albums; released in the U.S. on an Angel label, it has sold 15,000 copies in six weeks. Menuhin plays two ragas worked out by Shankar (the rest of the album is given over to a solo by Shankar and a performance of Enesco's Sonata No. 3 by Menuhin and his pianist sister Hephzibah). On the first, a violin solo, Menuhin spins out a contemplative opening cadenza, progresses to some pizzicato syncopations, then, over the pitty-pat of tabla (drums), skips and slides through a series of jaunty embellishments...
First on the program was the Quintet for 2 Violins, 2 violas and cello (1958) of Roger Sessions. The work is in three movements, nominally conforming to the standard fast-slow-fast alternation of classical sonatas. The first ("Movimento tranquillo") seemed to be written for violin solo with string accompaniment, which might be a function either of the composer's intentions of the energetic playing of Mr. Galimir. The second movement ("Adagio ed Espressivo") exploited the high register of the violin, giving the music a strongly passionate flavor; after a while, however, the emphasis on extreme registers began to wear...