Word: violin
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Dates: during 1960-1969
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...five, gave his first recital at seven. After his parents resettled in Tel Aviv, he studied in Europe, becoming at 13 the youngest student ever to win a master's degree at Rome's Academy of Santa Cecilia. Besides taking up conducting, he learned the violin to see music from still another angle, and he did some composing to give his playing "a quality of understanding...
...ever performed with him: Violinist Yehudi Menuhin, 51, longtime apostle of Indian culture and faithful practitioner of yoga. The two met in India in 1952, and Menuhin persuaded Shankar to play last summer at the Bath Festival in England. In what both performers termed "an experiment," Menuhin practiced his violin for two days under Shankar's coaching so that he could sit in on a raga. Clad in a raw-silk tunic and sitting cross-legged amid a haze of incense, Menuhin might indeed have passed for a native fidllist, except that he did not rest the head...
...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 on the theme. On the second, he and Shankar engage in a long, rousing call-and-response pattern...
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...
...purpose of the first half of the program was epater le bourgeois, the thought behind the second must have been to send 'em home happy. This was done effectively by Galimir and company's performance of Mozart's Divertimento No. 7 in D major, K. 205. Scored for violin, viola, 'cello, double bass, two French horns and bassoon, the piece provided a refreshing antidote to the solid-string sound that had preceeded it. The preponderance of instruments with low ranges tended to make the piece a bit bottom heavy, but Galimir played as if trying to make up singlehandedly...