Word: violins
(lookup in dictionary)
(lookup stats)
Dates: during 1940-1949
Sort By: most recent first
(reverse)
Deno Geanakoplos 3G and Robert Ball will give a violin and piano concert at 8:30 p.m. tonight in Kirkland House. Geanakoplos is concertmaster of the Harvard-Radcliffe Orchestra and a former member of the Minneapolis Symphony...
...occasionally, he may leave it idle in his left hand. He sings along with the strings as loud if not louder than Toscanini does. He shushes for pianissimos, exhorts for fortissimes. Sometimes he depicts the music physically, but where other conductors often merely imitate the motions of a violin bow or a cymbal, (something which has no value for anyone except the audience) Munch attempts to portray the spirit of the interpretation he is seeking (something which can be of considerable value to the musicians as well as to the audience...
...from Philadelphia named Norman Carol stepped up to show the Boston Symphony Orchestra's Serge Koussevitzky what he could do with a fiddle and bow. He did well enough to win a scholarship to the Berkshire Music Center that summer and, more unusual, a seat in the first-violin section of the Boston Symphony...
Last week, for the first time, Manhattan critics got to hear Koussy's wonder boy. For his Town Hall debut, Norman's program was by no means all apple pie: a Handel sonata, a Bach partita for unaccompanied violin, two difficult Paganini caprices. By the time he was halfway through the Handel, critics were wondering at the sureness of his phrasing and rhythmic pulse. When he had finished with the Paganinis and a blazing performance of Sarasate's tricky Zigeunerweisen, there was no question about the finish of his technique. Twenty-year-old Norman Carol was more...
...only question which can be legitimately raised is one of balance. Granted, Sanders Theater is too large for harpsichord tones to compete satisfactorily with the violin. Nevertheless, while being true to the music by using the harpsichord rather than the piano which dominated the nineteenth century, they have not weakened the violin proportionately. Schneider uses a straight bow with taut hairs rather than the arched, loose-haired bow to which Bach was accustomed. Even with this slight exception, however, it is undoubtedly true that the two give the most precise demonstration to be found anywhere of the complete understanding which...