Word: toning
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Dates: during 1950-1959
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...reason or another. In the Mozart Piano concerto (K 271, in E flat) the very excellence of the soloist, a young Frenchwoman named Eveylne Crochet, made the Orchestra's contribution seem rather weak. Mile. Crochet's reading, a compendium of elegant phrasing, effortless roulades, and delicious, unforced tone (for which the piano is probably due some credit) was the performance of a knowing, sensitive professional. But the Orchestra is only a good civic ensemble, and hazy string entrances or out-of-tune winds naturally suffer in the face of such suavity. Nevertheless, Mr. Manusevitch is a fine musician...
Wayne, as usual, magnificent. As Brother Juniper, he is gay and wistful, pleading and commanding, mute and eloquent. He has the gift of changing the audience's mood from mirth to melancholy by altering the tone of his voice. And his stage presence is remarkable; his one or two fluffs sounded almost like part of the script, and he steadied a wavering child actor without missing a line...
...violin. In that time Virtuoso Isaac Stern, backed by the New York Philharmonic, worked his way through three separate concertos (Bach's Brandenburg Concerto No. 5, Brahms's Concerto for Violin and Cello, Alban Berg's Violin Concerto), giving each of them the luminous tone and the warmly lyric sentiment that are his specialties...
Clear hit of the evening was Berg's difficult twelve-tone piece, last played in Manhattan ten years ago. Moved by the death of the 18-year-old daughter of a close friend, Composer Berg interrupted work on his opera Lulu to write the concerto in the summer of 1935, died before he could hear it performed. A tenderly elegiac work, it spreads a filigreed web of wispy lyric phrases, works up to a climax drawn from a phrase of a Lutheran hymn (Es ist genug), ends with the violin soaring softly above the fading orchestra. Last week...
...while still in art school. Last week her tabletop bronzes were on view at Manhattan's Bertha Schaefer Gallery. At first glance, many looked like mud attempting to fly; they were that energetic and that saggy. The combination said something blue about man's estate, the approved tone of most contemporary sculpture. But Frink's ostensible purpose has nothing to do with moral messages or with ideals of any kind, not even plastic ones. "Somebody makes a metal armature for me," she explains, "and I start covering it with quick-drying plaster. I work very fast, often...