Word: violine
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Tapestry of Sound. Imbrie's Concerto for Violin and Orchestra shone in a galaxy of impressive premieres: Ernest Bloch's Quintet No. 2 for Piano and Strings, a vigorous, passionate work whose rich coloration took on a special sheen in the sonically clean, echoless hall; Darius Milhaud's Eighth Symphony, describing the flow of the Rhone to the sea, which happily combined the gusty exuberance of the Frenchman's early works with the sunny lyricism of his later ones; Roger Sessions' serene, atmospheric Quintet with Two Violas, performed without its third movement, which the composer...
...beat of Blue Moon and the striding chords of Embraceable You. Then a reedy Texas voice rose above the piano: "A-a-ah've got you un-dah mah skin!" The singer was long-legged, tousled Van Cliburn, 23, prize-winning pianist at the Tchaikovsky International Piano and Violin Festival (TIME, April 21 ), who had got under the Russian skin as no foreign artist had done in modern memory...
...mother finally takes the boy to a Copenhagen specialist it is too late to do more than prolong his eyesight for a few years, but back home in the town concert hall it is still early enough for the boy to find an exciting new sense of vocation. A violin note spins out over the hushed audience, "thin and glittering like a gold thread in sunlight . . . the echo felt like a kind of weeping in one's chest. A weeping that could not be wept." At novel's end, with a profound sense of release shared...
...Cliburn, 23, blazed through the opening round of the first Tchaikovsky International Piano and Violin Festival with 49 other pianists from 19 countries, and his twelve-note span carried him triumphantly through the second round. By then the town's elite was on its ear. To hear him in the finals, standees jammed the aisles in the Moscow Conservatory's deep balconies. Soldiers held back enthusiastic crowds in the street outside. To the hundreds of callers who asked for tickets, the Conservatory's box office had a standard reply: "Cliburn is playing tonight; call back tomorrow...
Such celebration of painting materials for their own sake (much as if a composer were to write a concerto about, not for a violin) seems on its way out. Strongest trend Baur spotted was "a general but oblique redirection of abstract expressionism toward nature for its own sake." Painter Kyle Morris put it simply: "This kind of painting does not start with nature and arrive at paint, but on the contrary, starts with paint and arrives at nature...