Word: violas
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Dates: during 1970-1979
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...average string quartet, the biggest problem in playing Carter can be just staying together. In String Quartet No. 2, the instruments are given music of a dramatically contrasting character: the first violin spins fantastic note flourishes, for example, while the viola sobs a lot. In Quartet No. 3, the first violin and cello are allowed expressive rubato; the second violin and viola are not. Says Michael Rudiakov, cellist of the marvelously together Composers String Quartet: "When you play this music, you jump and hope the parachute opens...
Margaret Duesenberry and Aldeen Zeitlin, violins; Ruth Curwen, viola; Ruth Belvin, cello; Edwin Barker, bass; Donald Lurye '75, clarinet; Douglas Wilkins '75, bassoon; and Donald Warkintin '78, french horn. Schubert: Octet, Op. 166. Nov. 10 at 3:00. To the memory of Joseph Stein...
...Baroque Folk. Carol Epple, Baroque flute; Ruth Rubinow, viola dagamba; Stephen Hefling, Baroque violin; Frances Fitch, harpsichord. Works of Turini, Telemann, Couperin. Free. Sunday...
CAROLE Shelley is here an admirable Viola--sprightly, intelligent, and a model of sanity in a world of absurdity. Her diction is clean, and her handling of the "Fortune forbid" soliloquy is particularly distinguished. But there is more beauty in the "damask cheek" speech than she is yet able to convey. (Siobhan McKenna's portrayal remains the yardstick for this part, as for Shaw's Saint Joan and others.) The plausibility of confusion between Viola-Cesario and Sebastian is helped here through Donald Warfield's soft, rather womanly portrayal of the brother (a role once played by a 19-year...
...full rein to his wellknown comedic talents, whether goosing Maria, hiccuping or extracting hidden booze from unexpected places. He also proves himself, in his fight with Sebastian, to be a really first-rate fencer--which seems all the more impressive in the wake of the sidesplittingly inept duel between Viola and Sir Andrew, both of whose foils fly into the air at the opening engagement en quarte, and, later on, wind up in a single hand. Farcical fencing is no easy trick to pull off, and Patrick Crean deserves great credit for his meticulous staging of all the swordplay, both...