Word: juilliards
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BARTOK: STRING QUARTETS 1-6 (Columbia; 3 LPs). The Juilliard String Quartet, after many performances of the works and a previous set of recordings, attacks each quartet with consummate skill and understanding. The musicians are warmly expansive in the romantic first quartet (1908), pungently Magyar in the second (1915-17), and harshly abrasive in the ugly, expressionist third (1927) with its abusive hammerings and pluckings, yawling glissandos and jerky rhythms. The strings sing again in the last three quartets, which in spite of some jagged polyphony, frequently dissolve into swaying melody. The result is an album of the finest chamber...
BEETHOVEN: QUARTET IN A MINOR OPUS 132 (RCA Victor). This intricate work was written 25 years after the septet and sounds a world apart, especially in this crisp, exact performance by the Juilliard String Quartet. Technically, the Juilliard is superb; the pianissimo passages, for example, are feather-light and still warm, but the third movement, the "song of thanksgiving offered to the divinity by a convalescent," sounds curiously reserved...
...NYMPHENBURG (July 7-29), on the outskirts of Munich, presents some of the finest chamber music available on the summer circuit, highlighted this season by the appearance of the Juilliard String Quartet. Performances are held by candlelight in the magnificent threestory stone hall of the sprawling Wit telsbach Palace...
Anatomizing Mother-in-Law. Rivers started out as a jazz musician. He studied at the Juilliard School of Music, plays the saxophone with a jazz combo called the Upper Bohemians. But shortly after being discharged from the Army Air Corps in 1943, he signed up in Hans Hoffmann's painting classes. Rivers proved a hip but argumentative pupil. The canvas rectangle was then viewed as a neutral battleground whose every square inch must show the vital push and pull of his artistic struggle. How was it, Rivers wanted to know, that the greats of the past were good even...
Responding to Perkins, Dancer Jose Limón, who teaches at New York's Juilliard School of Music, pointed out that in the end "the scholar and the artist are working toward the same goal. The scholastic method, objective, dispassionate, and the artist's egocentricity are diverse roads leading to one end: civilized...