Word: haydn
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There is always a certain amount of risk involved in choosing a program which is, in many ways, beyond the Orchestra's capabilities. The risk paid off in Brahms's Haydn Variations, which received a superb performance. Slightly less successful was Berlioz' Harold in Italy, which was the victim of mishaps ranging from such acts of God as late entrances and extra-musical noises on stage, to the more controllable blunders of intonation...
...choice of works was undoubtedly a handicap to the orchestra in the first place. The major work, Haydn's Symphony No. 44 in e minor, is not one of his happiest compositions, being almost devoid of humor or lightness. The orchestra was having problems of intonation, and not until the last movement did they relax and play freely. By that time, the nervousness and tension which dominated the first half of the program began to wear off, and both the tone and the ensemble work improved noticeably...
...early Bartok violin concerto,* which the composer dedicated to the late Hungarian-born violinist Stefi Geyer, with whom he was in love before his first marriage. Budapest audiences reserved their loudest cheers for the Juilliard group, which played Bartok's Third and Sixth quartets, plus works by Mozart, Haydn, Beethoven, the U.S.'s Walter Piston and Leon Kirchner. The audience yelled so loudly for encores that the quartet gave an additional concert for students, who almost dismantled the hall with enthusiasm. Established in 1946 by Juilliard School of Music President William Schuman, the quartet has scored triumphs...
...cathedral paintings. Their crispness remains taut and concise without suffering that mechanical rigor mortis which lurked in such abundance in the ranks of the Bauhaus. If this is German art, it is German in the sense that it pursues the kind of gentle lyricism which illuminates the music of Haydn, and in that it follows the path of classical rectitude which soars so in Bach. Happily, these works are devoid of the more histrionic and sentimental aspects of Teutonic picture making which plagued so many of Feininger's contemporaries. Feininger's concern is to sing rather than...
Bernstein had started out with a few doubts: "I was worried because a strange conductor always has more pull with the orchestra, and I was just the boy next door they'd known for years." But Lennie and the orchestra hit it off. With programs of Haydn, Brahms and Beethoven, larded with easily digestible Ravel and Gershwin and spiced with occasional contemporary works, the tour was a hit from the start...