Word: soloist
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Dates: during 1950-1959
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Mozart's glorious Piano Concerto in G, K. 453, featured Edgar Murray '60 as the soloist. Though he phrased with style and intelligence, his lacklustre tone failed to bring to life many of his good musical ideas. In the third movement, however, his performance brightened considerably and he handled the variations accurately and vigorously...
...soloist, Neal Zaslaw and Richard Oldberg, both possess extremely fine techniques, which enabled them to handle easily the involved passage-work with which Mozart fills out his instrumental concertos. Zaslaw, playing the first Flute Concerto, in G, used a tone which, while more breathy than some tastes prefer, is even and manageable enough for delicate articulation. Oldberg's tone also veers away from the "pure" school, toward the specifically brassy sound...
John Harbison's conducting is becoming much more relaxed, without losing any of its control. The orchestra occasionally lapsed into an unpolished, open sound, particularly in the Flute Concerto where it covered the soloist; but for the most part, Harbison's handling of dynamics was attentive, and in parts of the Piston, very exciting. A more intense beat, besides lending even more excitement, would add rhythmic sureness and vivacity. Otherwise, both his and the Orchestra's work indicates much to look forward to, and one hopes they will not become assimilated into the larger Harvard-Radcliffe Orchestra next year...
...Indiana's Congressman Charles Halleck. Mr. Sam grandly ruled unanimous consent on his surprise package, despite a noisy objection from Tennessee's loose-tongued Ross ("Largemouth") Bass,*who said it was "an unusual precedent." ¶ Pennsylvania's six-term Republican Congressman Carroll Kearns, onetime Chicago Symphony soloist (baritone) fights a lonely battle for his muse on lawyer-dominated Capitol Hill. Says Kearns, who, at the request of Secretary of State Dulles, recently conducted four Air Force Symphony concerts in Iceland: "If I could put a Sputnik into the air, I would like to have it wired...
...also no detriment to any concert to have a soloist like O'Brien Nicholas, whose work over the past few years has been so consistently brilliant that the most one can say is that she sounds even better this year than before. Thomas Beveridge sang with his dependable musicality. And Sharon Price, breaking into the clique, provided the contrast of a more personal and emotional interpretation of her aria which followed an identical one by Miss Nicholas in the opening Bach Cantata...