Word: violins
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
Beyond Belief. At 51, Mrs. Hutchins is a widely respected maker of violas and occasional cellos and violins (she makes violins "only when there isn't enough wood left to make a viola"). When the Boston Symphony's Eugene Lehner wants a viola, he goes straight to Montclair (where Mrs. Hutchins sells them for $600 apiece); the Budapest String Quartet's Mischa Schneider has used one of her cellos. Says one satisfied Hutchins customer, David Mankovitz, who played with the Kroll Quartet: "Her viola creates a sensation wherever I play it. People want to know...
Mendelssohn: Trio in D Minor (Mieczyslaw Horszowski, piano; Alexander Schneider, violin; Pablo Casals, cello; Columbia). A recording of the Nov. 13, 1961 White House concert that honored Pablo Casals. The performance, as expected, was worthy of the occasion. Casals' uncanny control, and the unfaltering warmth of his tone, will be the envy of cellists one-half the master's 85 years...
...child prodigy. They all had great teachers, and made debuts at the age of six." Eisenberg, on the other hand, although he was born into a musical family--his father was a cantor--did not start music lessons until he was nine. Even then it was the violin that he began to study. The reasons he recalls for changing to the 'cello are a mixture of pragmatism and romanticism: "There was only one violin, and I had to share it with my brother. The music teacher wanted to organize a quartet and needed a 'cello; also...
Kirchner's Trio of 1954, for violin, cello and piano, a better work because it brings its various emotions together more skillfully. Its serenity is more abstract than the Sonata's and shares with the contrasting eruptive mood, a deep intensity; outbursts from the cello in the second movement resemble similar ones in the first, thereby connecting the two contrasting movements. The protracted development of this final movement is not at all a forced one, but unfortunately the performance brought it to an inconclusive ending. All the same, the three artists brought out well the work's great rhythmic activity...
...Mozart was another matter. Opening with the Sonata in E flat Major, K. 481, for violin and piano, Silverstein and Kirchner lost their coordination several times and displayed poor balance generally. Kirchner had rather sloppy technique, especially in scale passages. The Trio II in B flat Major K. 502, caused them still more trouble in keeping together, and they gave a generally perfunctory reading. Perhaps the saddest commentary on the evening was the number of people who left (unwisely, as it turned out) before the work best performed: the Sonata Concertante...