Word: violine
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...Archbishop of Salzburg. Even so, he thought it precocious that "Wolferl" at the age of three should "bawl with disappointment" when his small fingers struck a discord on the clavier. At four, Wolferl scribbled down his first clavier concerto; at five, before he had had a single violin lesson, he played second fiddle in a trio. "One need not have learnt in order to play second fiddle," he informed the grownups...
Sibelius: Violin Concerto (Camilla Wicks; Radio-Stockholm Symphony Orchestra, conducted by Sixten Ehrling; Capitol). A knowing performance of this old Finnish chestnut by a young American peach. California-born Violinist Wicks, 27, made her first successes touring in Europe, is gradually building an American following. Under her talented fingers, the piece sounds luminous and true, its expression warm but not overheated...
Shostakovich: Violin Concerto, Opus 99 (David Oistrakh; New York Philharmonic-Symphony, conducted by Dimitri Mitropoulos; Columbia). The finest moments of Soviet Violinist Oistrakh's recent visit to the U.S. (TiME, Jan. 9) sound even better on records. Reason: in this concerto, the violin's rhythm often runs against that of the orchestra; in a large hall with a full orchestra, the violin part is sometimes buried, but studio technicians, who can magnify small sounds, restore the balance...
...also knows why he gets so few chances to prove it to the public. "Concert managers tell you the cello is a little-liked instrument," he says. Then he explains: "The cello is about a century behind the violin. Paganini [1782-1840] was the turning point in the violin, 100 years before Pablo Casals [born 1876] who was the turning point in the cello." Those 100 years. Starker points out, enclose most of the great composers. Since they wrote relatively little music for the cello virtuoso, he reasons, the cello is an unfamiliar solo instrument to the public...
Tense & Silken. Moreover. Starker thinks, the instrument is not entirely familiar to the men who play it. "In cello playing, the accepted standards are lower than with the violin. Basic under standing of the instrument is not developed. Players may know how to go from one place to another, but not why it is difficult to do so, or how to do it better." To improve this situation, Cellist Starker hopes to start a professional school for string players, teaches cello privately, and travels among U.S. community orchestras as string consultant. Meanwhile, he plays solo whenever he gets the chance...