Word: bachã
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...Offering.” The piece is directed by Jennifer Scanlon, a teacher at the Boston Conservatory and a former dancer with the Limón company, along with Director of Harvard Dance Program Elizabeth Bergmann.The 14-minute piece is actually an excerpt from a longer work set to Bach??s “Suite for Musical Offering,” and is Limón’s tribute to his mentor, renowned choreographer and dancer Doris Humphrey. According to Adam R. Singerman ’09, the 13 dancers in the piece have been practicing...
...earliest biography on Bach, or try to decipher Mozart’s handwriting on the dedication of his first string quartets to Haydn. There is also an entire section dedicated to four sons of Bach: Carl Philipp Emanuel, Wilhelm Friedmann, Johann Christian, and Wilhelm Friedrich Ernst. Bach??s sons are largely responsible for preserving a lot of their father’s musical work and making sure it eventually was published. Houghton’s displays meanwhile explore performance manuals and composition treatises written by some of the most respected historiographers of the time...
...your menagerie might focus on those didgeridoos, the Core of tomorrow might undertake a cross-study of flutes in their many incarnations, from the pan-flutes of the Roman and Greek empires to the lesser-known (but no less important) Papuan and Khoisan flutists—perhaps even Bach??s flute sonatas would make a brief appearance. All in the name of a general education...
...play softly so as not to overpower the singers, and up until the last rehearsal, individuals were still missing cues and falling behind. Moreover, nothing on the bill was popular or famous enough to suggest a big draw—there was no Mozart or Beethoven, not even a Bach??so selling tickets to an undergraduate population with a predominantly cursory interest in classical music would be tough going...
...performers, despite some intonation difficulties in the upper winds, produced a powerful sound, while retaining control. They retuned before the second piece, Johann Sebastian Bach??s “Fantasia in G, BWV 572,” originally written for organ. The richness of the low brass made this atypical arrangement convincing, although anyone seeking to envision it as authentic was jarringly shaken back into the twenty-first century with the crashing cymbal...