Word: violin
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Dates: during 1960-1969
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...only Indian conductor who has ever won international fame, Mehta allows that he was "brainwashed with classical music from the cradle." Urged on by his father, former conductor of the Bombay Symphony Orchestra and now a violinist with Philadelphia's Curtis String Quartet, he began studying the violin and piano at seven. At one period, he renounced music for medicine but soon relented. "Every time I sat down to write an exam or cut up a dogfish," he says, "there I was with a Brahms symphony running through my head." In 1958, after studying conducting for three years...
STRAVINSKY: VIOLIN CONCERTO IN D MAJOR (Philips). A rare and rewarding encounter between the neoclassicist Stravinsky and the romantic David Oistrakh. Oistrakh gaily sets off short rhythmic explosions in the Toccata and Capriccio and then lets the melodies pour out in the two calm stretches called arias. Conductor Bernard Haitink and the Lamoureux Orchestra are also attuned to every instantaneous change in the musical weather...
ERNEST BLOCH: CONCERTO FOR VIOLIN AND ORCHESTRA (Angel). Bloch was noted for his Jewish music, but in this work he denied having any Hebraic inspiration or intention and referred to the main theme as the "American Indian." The overtones are oriental nevertheless, and the coloring exotic. Yehudi Menuhin, who first played for Bloch when he was six, lends to the work of his late friend a special intensity, as though he were celebrating a mystery...
Fire Buff. Descendant of a long line of fiddling Fiedlers (his father and two uncles were violinists with the B.S.O.), Arthur studied at Berlin's Royal Academy of Music, joined the Boston Symphony in 1915 and played musical chairs (violin, viola, celesta, piano, organ and percussions) before he founded the open-air Esplanade Concerts in 1929 and began luring up to 20,000 persons across the Arthur Fiedler Bridge to the banks of the Charles River for free concerts. In 1930 he became the first Boston-bred conductor of the Pops...
...share when playing together. Istomin hulked mightily over the keyboard to delve deep into the music with the sensitive phrasing that distinguishes his playing. Stern and Rose were so perfectly matched that Rose's 1662 Amati cello seemed at times the baritone voice of Stern's Guarnerius violin. In passages in which phrases are repeated alternately be tween them, each provides a mirror of the other in phrasing, tone, even vibrato. Their precision and ease suggests an immense reserve of talent that the evening's program had not required...