Word: fitzwilliam
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Dates: during 1980-1989
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TREASURES FROM THE FITZWILLIAM MUSEUM, National Gallery of Art, Washington. Highlights of the collection built up by British connoisseurs over two centuries at Cambridge University's Fitzwilliam, including paintings by Titian, Rubens and Delacroix, manuscripts, ceramics, sculpture and decorative arts. Through June...
TREASURES FROM THE FITZWILLIAM MUSEUM, National Gallery of Art, Washington. Highlights of the collection built up by British connoisseurs over two centuries at Cambridge University's Fitzwilliam, including paintings by Titian, Rubens and Delacroix, manuscripts, ceramics, sculpture and decorative arts. Through June...
...which had rigidly dominated composition since the end of World War II, has opened the way once again for a more humanistic, accessible form of musical expression. Shostakovich's pensive, sardonic, sometimes anguished style no longer has to be considered a liability. In fact, as reflected in the Fitzwilliam's excellent, probing performances-which concluded last week in Alice Tully Hall-his directness is one of his great strengths. For the conventional view of Shostakovich as merely a bombastic reactionary is wrong: he had something to say, and he said it in a way closest to the heart...
...idea that Shostakovich was merely noisy is one of the misconceptions we're trying to destroy," says Fitzwilliam Violist Alan George, 32. The ensemble has been closely associated with Shostakovich's music since 1972, when the sick, aging composer came to York to hear the group perform his tightly organized, mournful Quartet No. 13. That meeting began a relationship that continued until the composer's death; Shostakovich sent the Fitzwilliam the scores of his 14th and 15th Quartets for their first performances outside the Soviet Union. Says First Violinist Christopher Rowland, 35: "He seemed very touched that...
...group's adventurous repertory also includes quartets by César Franck, Fauré, Sibelius, Borodin and Nielsen. Starting in July they will regularly perform the music of Mozart and Haydn on 18th century instruments. But it is in Shostakovich that the Fitzwilliam's reputation has justly been made. Whether negotiating the complexities of the late quartets, such as the tortured, defiant Twelfth, or inhabiting the sunnier climes of the Fourth and Sixth Quartets, the Fitzwilliam's performances were marked by a clear, unforced ensemble tone, individual virtuosity and an unfailing sensitivity to the music...