Word: bach
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Dates: during 1950-1959
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...last week's concert, Oberlin College's Finney Chapel turned into a thrumming, humming place, where the music was sometimes strong and distinct (Bach, arranged for 20 harps), sometimes mysteriously vague (Debussy, arranged for five harps), sometimes murmurous like the sea (Salzedo's own Fraicheur, for 54 harps). When it was over, the audience applauded enthusiastically. One observer noted that even the older performers looked young. Harp Master Salzedo had the answer: "Most harpists are young or look young. I have known only one old harpist, and she was not good. Harp keeps them young...
...Department admits the importance of keyboard technique and requires concentrators to play Bach's easy preludes and sight-read simple four-part chorale harmonizations. For those who fail, it provides free lessons. But there are no further provisions for those who wish to further their mastery of the piano or any other instrument. Playing ability remains at a relatively low level while a student studies advanced harmony, counterpoint, or composition. Private lessons, in addition to their expense, require time which a full schedule of liberal arts courses does not permit...
Conductor Charles Munch signals congratulations to the Glee Club and the Radcliffe Choral Society with a smile of satisfaction after the University group had completed its fourth and final performance of the Bach B Minor Mass with the Boston Symphony Orchestra at Symphony Hall last night. A near-capacity audience summoned Munch back to the platform four times after the final part of the Mass. The series of four performances was the first presentation of the Mass in a regular subscription concert. The Glee Club and Choral Society will sing the work again at Tanglewood in Lenox, Mass., this summer...
...less than a year of existence, the Bach Society seems to have pushed completely aside its parent organizations, the Harvard Music Club. However unnecessary the displacement, the reward has been considerable: a student ensemble of increasing finesse devoted to the chamber literature...
...performance of Bach's Cantata N. 21 relied heavily on sheer volume to make its effect, but did great credit to the leadership of conductor Michael Greenebaum. From an organizational standpoint alone, the cantata is a huge undertaking; Greenebaum succeeded in offering both a well-rehearsed ensemble and a measure of interpretive continuity. He was especially fortunate in soprano soloist Jean Lunn. To her customary refinement of diction and gifted insight into the music as a whole. But her singing and a few instrumental solos were the only high spots. The chorus sang with colorless tone and indifferent diction most...