Word: violine
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...first prize includes a series of solo engagements with such orchestras as the Cleveland, Chicago and New York Philharmonic, so it is no wonder that the piano and violin competitions sponsored by Manhattan's Edgar M. Leventritt Foundation have helped launch many an illustrious career. Pianists Eugene Istomin, Gary Graffman and Van Cliburn and Violinists David Nadien and Itzhak Perlman are among the performers who got an early boost from the award. Since the stakes and standards are so high, the judges occasionally pick no winner when they feel that the candidates are not ripe for major concert appearances...
...last week at Carnegie Hall, the Leventritt jury outdid itself. It ranked the four violin finalists so closely that it took the unprecedented step of asking each to play again. Then, for the first time in the competition's 27-year history, it named two winners: Korea's Kyung-Wha Chung, 19, and Israel's Pinchas Zuckerman, 18, both scholarship students at Manhattan's Juilliard School of Music and products of eminent Juilliard Teacher Ivan Galamian...
Kyung (dubbed Cookie by Galamian) is one of seven musical children of an importer who now lives in Seattle. She started on piano at four, but switched to violin two years later because "I kept going to sleep at the keyboard" She left Seoul for Juilliard at twelve, knowing no English. As composed and lovely as a porcelain doll, she "never felt more comfortable" than in the competition, was calm enough to nap during the two-hour wait for the jury's decision...
...brought up in a prosperous, nonmusical Amsterdam family, "drifted" into music as a violin student at nine, admits that most of his conducting has been learned in on-the-job training. Sometimes painfully self-deprecating ("Of course you have ups and downs, but I am a conductor who has too many downs"), he feels he got the Concertgebouw post at his age only as "a credit card for the future...
...concert opened with the Vivaldi Concerto Grosso in D minor. A reduced HRO was ripieno--perhaps not reduced enough, since the string sound was still too lush for the style of the piece. In spite of numbers, however, the texture was clean and transparent; the violins showed good sectional discipline and accomplished exhilarating effects of terrace dynamics. Violin soloists Edgar Engelman and Marilyn Malpass had just enough brilliance and energy for Vivaldi and were effective in spite of some nervousness. 'Cellist, Martha Babcock handled her part efficiently, but was dry and weak compared to the others...