Word: violins
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Dates: during 1990-1999
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...made some rather audible mistakes, failing in four different spots to sustain the end of his solo the full length of the note. The final movement suffered from the meek entry of the strings and an overquick temp. But the allegro assai redeemed the piece, with oboe, flute, and violin soloists maintaining a whispering rapport...
Finishing the concert, the BSO showed a stamina rarely seen in amateur orchestra with Ginastera's "Variaciones concertantes in 12 Movements." Variations ranged from plaintive cello and bass solos with harp accompaniment to sudden Stravinsky-like explosions of cacophony that contained both smooth and abrasive wind solos. Violin passages reminiscent of Saint-Saens offered calms in the auditory storm...
WHAT'S HAPPENED TO THE GLAMOROUS young German violinist ANNE-SOPHIE MUTTER? She used to be just another pretty face, riding to glory aboard great war- horses named Beethoven, Tchaikovsky and Brahms. On her latest Deutsche Grammophon album, though, she harnesses two modern violin concertos and tames them both. In Alban Berg's ineffable 1935 two-movement concerto, a requiem for the daughter of Alma Mahler Gropius, Mutter evokes the music's intense, passionate suffering. In Wolfgang Rihm's gorgeous Time Chant, written for her last year, Mutter's splendid fiddle soars ethereally over the Chicago Symphony led by James...
...about to leave for home (and planning to fetch your daughter from her violin class on the way) when you get called into a meeting with, say, the President. Sitting in the Oval Office with something that looks like an electronic notepad on steroids cradled in your palm, you discreetly dash off a message: "Running late. Be patient." With the tap of a pencil-like stylus, your note is beamed through the ether to the other side of town, where it lodges in a similar device, stowed in your daughter's book bag, and sets off a little beep...
THOUGH KNOWN AS THE SUPREME VIOLIN virtuoso whose personal eccentricities and wizardly playing combined to make him music's first superstar, Niccolo Paganini was also a superb guitarist. The instrument figured in all his published work during his lifetime except his magnum opus, the ferociously demanding 24 Caprices for solo violin. It seems just, then, that the guitar virtuoso ELIOT FISK has recorded his own transcriptions of the pieces (MusicMasters Classics). What amazes throughout is Fisk's ingenuity in finding the equivalents of, say, legato and ricocheted bowing on his plucked instrument, and his dexterity in executing them with such...