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Last week, while the Philharmonic's pudgy head violinist, Mishel Piastro, laid down his fiddle and picked up the baton to conduct the orchestral accompaniment, Conductor Enesco laid down his baton and picked up a fiddle to play the solo. Carnegie Hall's audience and the critical pundits found his fiddling in Bach's Concerto in A Minor for Violin and String Orchestra the last word in intelligent interpretation. Composer Enesco will again play a double part on next week's Philharmonic programs when he conducts his own Rumanian Rhapsody...

Author: /time Magazine | Title: Music: Composer-Conductor-Fiddler | 1/17/1938 | See Source »

Born in Rumania, Enesco studied composition, piano, organ, cello, violin in Vienna, became a violinist in a Viennese Symphony Orchestra. Later he went to Paris, entered the Paris Conservatoire, studied more composition, more violin, composed extensively and had his compositions widely performed. Today, at the age of 56, Enesco is almost as familiar a figure to the Parisians and the Viennese as to the Rumanians, who regard him as their musical patron saint...

Author: /time Magazine | Title: Music: Composer-Conductor-Fiddler | 1/17/1938 | See Source »

This week Manhattan music lovers gawped and gloated while more than $1,000,000 worth of Strads (violins, violas, cellos: 20 instruments in all) were played at a single Carnegie Hall concert. Noted Violinist Efrem Zimbalist played on his famed Lamoureux (Strads, like Pullman cars, all have individual names). Listeners marveled at the mellow, homogeneous tone quality of the eight glistening, red-gold instruments played by the Musical Art Quartet and the Stradivarius .Quartet of New York, the small string orchestra over which senatorial Walter Damrosch waved a deliberate baton. The occasion for this Stradivarius display was the 200th anniversary...

Author: /time Magazine | Title: Music: Strads | 12/27/1937 | See Source »

Schumann's score had actually never been lost at all. The romantic, mentally ailing composer had left the concerto to Violinist Joseph Joachim, whose will consigned it to remain unheard until the 100th anniversary of Schumann's death (TIME, Aug. 23). (Joachim considered the concerto not up to snuff.) Since 1907 the concerto had rested securely in the archives of Berlin's Prussian State Library, where its existence had been well known to scholars and had been noted in dozens of bibliographies and musical dictionaries. Last April, German Music Publisher Wilhelm Strecker sent photostats of the original...

Author: /time Magazine | Title: Music: Lost Concerto | 12/20/1937 | See Source »

...slow movement. Also typical was its occasional awkwardness for the violin (Schumann was a pianist). Very obvious, despite Menuhin's contentions, was the need of editing. Most of the important violin concertos by great masters have either been edited by, or written in collaboration with, some eminent violinist. But violinists, generally hard-up for first-rate concertos, greeted the new work with hosannas, as did the 3,200 who turned out to hear Menuhin play...

Author: /time Magazine | Title: Music: Lost Concerto | 12/20/1937 | See Source »

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