Word: violine
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...burst abruptly into view...like Aphrodite washed ashore on Cyprus, beautifully complete, and often younger than she," Menuhin makes clear that his own career had less exciting origins. At two, his parents smuggled him into a matinee of the San Francisco Symphony; at four, unappeased by a toy violin ("this travesty of my longings enraged me"), he acquired his first instrument; by the time he was twenty he was an established master on both sides of the Atlantic...
...your best sources of musical inspiration at Harvard this year--a disciplined group with fine soloists and a sense of ensemble. The requisite Bach for the first concert if the Overture No. 3. But even better, there's going to be Beethoven's "Egmont" Overture, Bruch's Violin Concerto in g and Vaughan Williams' "Serenade to Music." Not that most Bach isn't fine and great to listen to; but there are some really sensitive and beautifully written works in the orchestral repertoire which don't come out of Germany or the Baroque period or, more likely, both...
Bruch is known best for his "Scottish Fantasy," which Heifitz has a patent on. But venture over to Sanders Theatre on Saturday at 8:30 to her his Violin Concerto in g, with soloist Stephen Chan; more such evocative and and appealing pieces by less-than-household-names should be presented to Harvard audiences...
Johann Sebastian Bach: Violin Concertos in E and A-minor; Concerto for Two Violins in D-minor; Air from Suite No. 3 in D (Henryk Szeryng and Maurice Hasson, Academy of St. Martin-in-the-Fields, Neville Marriner conductor, Philips). Bach was the field marshal of the concerto form, regimenting the fluid lines of such Italian masters as Vivaldi and Corelli into complex string masterpieces. Szeryng, the Polish-born virtuoso, and Second Fiddle Hasson demonstrate great authority within Bach's polyphonic ranks. Their counterpoint in the double concerto is superb, as is the accompaniment led throughout by Neville Marriner...
...colleagues in the cast, one must say that it is extremely doubtful if so prodigious an undertaking could have succeeded without an actor of Ian Richardson's scope and power. His voice is like the trumpet of the Lord at the Second Coming. He can insinuate like a violin, wheedle like a clarinet and thunder anathemas like a great bass drum. And alongside that, Richardson maintains a physical counterpoint of impish comic invention, which is an equally essential element of the Shavian rhetoric...