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The University of Michigan Library provides access to these materials for educational and research purposes. These materials may be under copyright. If you decide to use any of these materials, you are responsible for making your own legal assessment and securing any necessary permission. If you have questions about the collection, please contact the Bentley Historical Library at bentley.ref@umich.edu

August 13, 1999 - Image 90

Resource type:
Text
Publication:
The Detroit Jewish News, 1999-08-13

Disclaimer: Computer generated plain text may have errors. Read more about this.

Michi • an'S Hottest Grou •

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8/13
1999

90 Detroit Jewish News

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CATERING FOR ALL OCCASIONS

To many music lovers of the older
generation, the mention of violinist
Michael Rabin brings an ache to the
heart and a tear of remembrance for a
great young violinist who seemed des-
tined to be among the greatest — but
whose career and life were cut short
when he was only 35 years old.
He was born in New York in 1936
and died in 1972. His father was a
prominent violinist with the New
York Philharmonic and his mother
was a pianist of note. He studied at
Julliard and made his triumphant
debut with the New York
Philharmonic under Dmitri
Mitropoulos in 1950 — when he was
only 14 years old. Mitropoulos, one of
the giants in the pantheon of great
conductors of that period, called him
"the violinist genius of tomorrow."
On Michael Rabin: Mosaics (EMI
Classics 67020), Michael Rabin plays,
accompanied by Leon Pommers on
piano, Bach's Sonata No. 3 in C_ or
Unaccompanied Violin, BWV 1005, and
Eugene Ysaye's Sonata In C Minor, Op.
27, No. 4 and Sonata in D Minor; Op.
27, No. 3 (Ballade in One Movement).
He also plays 12 shorter pieces that
include works by Chopin, Wieniawski,
Mompou, Scriabin, Debussy, Sarasate,
Elgar, Engel, Ravel, Prokofiev and Suk.
The recordings were made in 1955
and 1959. The original releases were
on Capitol Classics.
What we hear in the shorter works
is the beauty of the violinist's tone and
pitch that seems to me to be absolute.
The sound can break your heart. It is as
though he were making love to his
instrument, and in return it is respond-
ing with a sound it reserves only for
those whose ardor equals its own.
You will never hear a violin respond
with a voice more lovely than this. I give

eviews

the disc my highest recommendation.
Upon his tragic death at age 35,
Rabin's personal collection of scores
was given to Ivan Galamian, with
whom he had studied. In 1990,
Galamian's widow donated her hus-
band's scores, including those that had
belonged to Rabin, to the Music
Library at the University of Michigan
in Ann Arbor. The Rabin collection
contains 1,189 items. All the scores in
this collection feature fingerings, bow-
ings and other markings written either
by Galamian during Rabin's lessons or
by Rabin himself in later years. As rare
materials, these scores do not circulate
but may be viewed under the supervi-
sion of Music Library staff members.

— Reviewed by King Durkee
Copley News Service

William Shatner•
Nine-minute monologue.
(Shatner's third wife, Narine
Kidd, was found drowned
earlier this week in the
couple's pool.)

Trekkie Treat

Want to feel old? Then consider
this: Star Trek: The Motion Picture
came out 20 years ago.
Want to feel confused? Then try to
figure out why Columbia/Legacy chose
to celebrate this very forgettable film by
re-releasing its soundtrack album, under
the title Star Trek: The Motion Picture:
20th Anniversary Collector's Edition.
Jerry Goldsmith's soundtrack isn't
very memorable or exciting — neither
is the film, if you care to recall — so it
seems like a strange marketing deci-
sion. But true Trekkies will be tickled
to find this album on store shelves
because it contains a bonus CD fea-
turing "Inside Star Trek with Gene
Roddenberry," a fascinating array of
behind-the-scenes recordings.

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