Word: violins
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Dates: during 1960-1969
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Time for a violin lesson with Ivan Galamian. The place is a memento-cluttered study in his Manhattan apartment, where he does all his teaching. Students call it the torture chamber...
Nobody is allowed here who has not already shown talent and promise. Still, it is hard not to be nervous. Autographed portraits of Kreisler, Szigeti, Milstein-all good friends of Galamian's -glare down from the walls. The air seems to tingle with his awesome reputation in the violin world. Isaac Stern calls him "the most effective violin teacher in the country," and he certainly has the alumni to prove it. Most of the brightest young soloists in the U.S. are Galamian products; Itzhak Perlman, Young Uck Kim, Jaime Laredo, Paul Zukofsky and James Oliver Buswell IV. In addition...
...BACH SOCIETY had considerable difficulties with the first of the concerto grossi, which was hampered by dynamic monotony, struggling second violins, inaudible violas, and a methodical trio of soloists. All of these problems unhappily converged in the second and fifth movements. Miss Lisa Sandow, the first solo violin, and Miss Ruth Rubinow, the solo cello, rivalled each other for tonal monotony and absolute abandonment of nuance. Miss Janet Packer, the second solo violin apparently sensed this lackluster playing and performed with considerable artistic concern. The second concerto, distinguished by a beautiful first movement, fared much better with Tison Street...
Methodical violin playing, too many moments of imprecise ensemble, and a lack of metrical relaxation, especially in detached quaver figures, severely qualified the final work, Mozart's Symphony No. 29. I think that this was primarily due to simple orchestral fatigue after an especially strenuous program. The Andante, however, was played with considerable feeling. The primary problems of the orchestra in this work and throughout the concert were essentially a lack of stylistic homogeneity within the violin section, insufficient attention to phrasing and a peculiar inability to play a genuine piano. Each of the orchestra's winds performed admirably...
...Violin Concerto was the culmination of this search to reconcile modality and tonality, impressionism and germanic form. His Violin Concerto displays three of his leading characteristics: efflorescent harmonic textures, generative rhythms, and his own cyclical sonata-allegro form. The Concerto requires superb understanding of its organic interrelations as well as the ability to switch from intense but strictly controlled lyricism to propulsive technics...