Word: violine
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Saturday night Levin did his thing(s) before a full house at Sanders Theatre. The program, entiled "Works of W. A. Mozart," included the orchestral March in D, K. 335/1 (delightful in its naivete and ludicrous use of col legno), the Sonata for Violin and Piano in B flat, K. 454, and the magnificent Piano Concerto No. 25 in C, K. 503. Levin served as pianist and was joined at appropriate moments by violinist Rose Mary Harbison and an excellent pick-up orchestra conducted by John Harbison. By and large the performances were clean, tasteful and controlled, with occasional brilliance...
...pace Mozart, were the two previously unfinished "torsos" which Levin had brought to completion as the bulk of his thesis project. It was a product, the program stated, "of some 18 months' work in the U.S. and Europe." The first of these torsos, announced as Concerto Movement for Piano, Violin and Orchestra, K. 315f, was the more substantial of the two and received by far the better performance. To Levin's great credit, there was no noticeable break between the exposition as completed by Mozart and his own continuation based on his knowledge of and empathy with the master...
Robert D. Levin '68, pianist and musicologist, has completed a double concerto movement for piano, violin and orchestra in D Major and the first movement of a quintet for clarinet and strings in B Flat. Both pieces were extant only as incomplete manuscripts before Levin's work...
...Buswell it was the third major concert appearance in Cambridge this semester. This time the program consisted of the three even-numbered sonatas for violin and harpsichord by J. S. Bach, for which occasion Valenti's custom-made two-manual, seven-stop Challis (featuring among other things, a 16-foot stop and a metal sounding board) was carted up by station wagon from New York. The combined reputations of composer and performers insured a capacity audience, which as it turned out subsumed the entire range of musical appreciation from hedonism to intellectuality. Some came to analyze, some to envy...
...most kinetic. At times his registration was somewhat arbitrary and misconceived, such as in the third movement of the Sonata in A, where he played the basso continuo left hand on the more loudly voiced manual, and the more important right hand line (in canon with the violin) on the softer one. His frequent use of the lute and leather stops became annoying, largely because of the basic ugliness of these stops on this particular harpsichord, as well as the instrument's generally unpleasant metallic tone...