Word: soloists
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Dates: during 1950-1959
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Violinist de Vito, a handsome, erect woman with grey hair and dark eyes, was opening-night soloist. On the concert stage, she showed her Latin dash at once, tucking her violin under her chin with a flourish, then working both hands in the air to limber them before attacking the music. Her tone had none of the acid brilliance of a Heifetz, but in roundness and warmth resembled Kreisler's. She scorned fireworks or virtuosity. "She is an artist," said one De Vito fan, "not a virtuoso." In the Vivaldi concerto last week her violin was warm and passionate...
...seem to mind staying at home. She did go to Paris in the early '30s, and played Bach for an enthusiastic Arturo Toscanini. "That's the way Bach should be played," said the Maestro. But De Vito had no great interest in becoming a touring soloist. What pleased her most was the unique honor of being named, in 1944, a lifetime professor at Rome's St. Cecilia Academy, one of the oldest musical institutions in the world...
Debussy: Rhapsody for Saxophone and Orchestra (Jules de Vries, soloist; Frankenland State Symphony conducted by Erich Kloss; Lyrichord). Debussy had little taste for this commission, wondered vaguely during the eight years he was at it whether the saxophone "indulges in romantic tenderness, like the clarinet." It never does, here, but there is a portion with typical Debussian shimmer, and the performance is elegant...
...famed American violinist; of a cerebral hemorrhage; in Manhattan. Chicago-born son of Sporting-Goods Millionaire James W. Spalding, he made his musical debut in Paris at the age of 16, became America's first internationally famed violin virtuoso. Spalding regularly toured the U.S. and Europe as a soloist, was the first American violinist ever to be invited to play with Paris' Conservatory Orchestra...
...notable for its extremely disjointed phrases, its bare, unornamented texture, and its utilization of the piano's percussive sonorities. On Monday night, Joel Mandelbaum's Piano Concerto in A received its premiere performance. Mandelbaum conducted the Harvard-Radcliffe Orchestra, and Ann Besser, to whom the work was dedicated, was soloist. Its sonata form in the first movement and its frequent reduction of the piano to orchestra, place it more or less in the classical tradition. But the concerto is far from being dry or old fashioned. The published, varied orchestration (somewhat marred by slips in the performance) does...