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ADOLF SCHERBAUM (Deutsche Grammophon) is the world's foremost master of the baroque trumpet, an instrument without valves (which were not added until the 19th century). On this record he presents music by Vivaldi, Torelli, Telemann, Graupner and Fasch. Clearly conversant with the horn's volatile upper register, Scherbaum sends silver runs and trills echoing through imagined medieval castles or floating above mirrored lakes at dawn...

Author: /time Magazine | Title: Television, Records: Sep. 10, 1965 | 9/10/1965 | See Source »

...sari, and painted the papal coat of arms on the plane. The Indians, as might have been foreseen, discouraged any extensive visits to the poor as an uncalled-for stress on the country's poverty. The Vatican sent along cardinals and priests and supplied tapes of Handel and Vivaldi to be played on the plane. Photographers crowded the plane, and made part of the trip a chaos of flashbulbs...

Author: /time Magazine | Title: Roman Catholics: Pope as Pilgrim | 12/11/1964 | See Source »

Consider the two pieces played by Michael Flaksman '66, principal cellist of the HRO. The Vivaldi Sonates en Concert in E minor for cello and orchestra were meant for cello and continuo. They sound soupy with a full orchestra. Tchaikovsky's Piano Concerto No. 1 is more at home with a saxophone band than this Vivaldi is with such a lush orchestral arrangement...

Author: By Joel E. Cohen, | Title: Swoboda's Last HRO Concert | 5/4/1964 | See Source »

...extremely predictable music hardly demands enough of the soloist for virtuoso display. Flaksman won the concerto auditions playing the Saint-Saens concerto, which is at least pretty, flashy, and, according to cellists, a good piece of cello writing. Why diddle around with warmed-over Vivaldi...

Author: By Joel E. Cohen, | Title: Swoboda's Last HRO Concert | 5/4/1964 | See Source »

Flaksman's performance suggested a Jaguar sports car confined to Boston traffic: though it was obvious that he was good, it was hard to tell what he could do, because of what he had to play. Conforming with the Romantic arrangement of the Vivaldi, he obviously tried for as rich an effect as possible; he used heavy vibrato and full bows. Yet, curiously, he played a lot of notes on the open strings without any false vibrato an octave above or below. He made no attempt to shape whole phrases. His tone had a thin, strained sound...

Author: By Joel E. Cohen, | Title: Swoboda's Last HRO Concert | 5/4/1964 | See Source »

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