Word: violists
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...years, that was one of the music world's favorite jokes. Alas, no one will tell it any more: the Budapest String Quartet has apparently decided to call it a career. Its three oldest members-First Violinist Josef Roisman, 68, Violist Boris Kroyt, 71, and Cellist Mischa Schneider, 64-are in poor health. Although there has been no formal announcement, they have agreed not to perform in public any more. Mischa's brother Alexander, 60, the second violinist, thinks that that is probably just as well. "Most artists play past their prime," he says. "How long could...
...early days of LP and a third for stereo. Haydn, Schubert and Brahms were staples as well, and moderns like Bartok, Milhaud and Hindemith were regularly included. To everything they played, the foursome brought a Toscanini-like elegance of outline within which the music pulsed with expressive passion. Says Violist Walter Trampler, their "fifth man" in quintet performances since 1955: "They had temperament and fire. Some people have lots of that, but they get carried away. The Budapest players were always in control...
...took 22 years before Roisman and Mischa addressed each other by their first names, and Alexander to this day has never attempted such informality with his colleagues Roisman or Kroyt. Says Seattle Symphony Conductor Milton Katims, who preceded Trampler as the group's extra violist: "It was like four married people trying to keep their relationship fresh and spontaneous...
...group consisted of two violinists, Alexander Schneider and Isadore Cohen, one violist, Samuel Rhodes, and two cellists, Leslie Parnas and Robert Sylvester. They performed the String Quarter in E major, Opus 17, No. 1 by Hayden, Divertimento in E-flat major, K. 563, by Mozart, and Cello Quintet in C major, Opus 163, by Shubert. Of the musicians, the most distinguished was Alexander Schneider, who, with wirey grey-black hair and metal rimmed glasses, sat perched on the edge of his chair, playing with never-failing energy, expression, and accuracy...
...Mozart piece got off to a rather weak start when the cellist's music dropped to the floor. With great aplomb, Schneider leaned down to pick it up, commenting, "Well done." During the first movement, Allegro, certain motifs played by the violinist were to be echoed by the violist, who, in contrast, failed to match the agility and lightness of Schneider's playing. The group did, however, make very effective transitions and tempo changes. Played with apparent quickness and ease, the Menuetto Allegretto had an incomparable dance-like quality. The final Allegro moved well and provided an excellent ending...