Word: violine
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Bartok: Sonata No. 2 for Violin and Piano (Rafael Druian, John Simms; Mercury). Written at Bartok's most dissonant period, in 1922, this rarely heard sonata bursts with haunting effects. It contains whole sections where adjacent notes sound sweet as a simple triad, others where the same kind of crowded combinations become strident and even brutal, and yet the whole mysterious piece works out as logically as a Haydn minuet. It is expertly played by the concertmaster of the Minneapolis Symphony and Pianist Simms...
Weill: Concerto for Violin and Wind Orchestra, Op. 12 (Anahid Ajemian; M-G-M Wind Orchestra conducted by Izler Solomon; M-G-M). A selection from Kurt Weill's nearly forgotten early period in Germany. The first movement is modern, the second a sleazy serenade with a crude rhythm jiggling under a high-toned fiddle, the third a romping gallop. Despite the strange orchestration that leaves the mid-range empty, the music is rich harmonically, and contains snatches of Weill's low-down lyricism that was to blossom into Three-Penny Opera, Street Scene, September Song, etc. Performance...
Dallapiccola: Tartiniana (Ruth Posselt, violin; Columbia Symphony conducted by Leonard Bernstein; Columbia). Italy's most famed modernist in a mellow mood. Two of the four movements start with themes by 18th century Violinist-Composer Tartini, then gradually, smoothly warm up to entrancing modernity. All of the movements seem to weave Tartini's melodies serenely for a while, then get involved in the implications of their own patterns; at other times the old tunes appear in a kind of bas-relief against a background of alien dissonance. A fascinating composition...
...France's TV watchers was a cloud-high point of a seven-week European tour that had already won raves in Finland, Sweden, Norway, Denmark and England. As the French cameras blinked on, Conductor Sirpo led the girls through a solemn, contemplative Corelli air, a Vivaldi piece (with violin solo by tall, blonde Claire Hodgkins), some modern variations by Alexander Tansman and an allegro by Stamitz. They played with fire and discipline that astonished their listeners-and played everything without a sheet of music. When they had done, the TV crew crowded around, and the studio audience burst into...
...then there were twelve. From early morning until well into the night they practiced. Western entrants occasionally dropped by the Russians' practice studios to hear their feared rivals. Said one Westerner: "They terrify me. They can do tremendous things with a violin...