Word: bache
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Dates: during 1960-1969
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...predictions Hathaway's Fidelio should have been a failure. That it was certainly not. Using the Bach Society Orchestra as a base, he managed to assemble many of the best instrumentalists at Harvard; for his chorus he drew heavily from the Glee Club and the Radcliffe Choral Society. It is a tribute to his musicians' intelligence and ability to sightread, and to his own assiduity and seriousness as a conductor, that they got through the music as well as they...
...took in the whole orchestra but made each player feel that it was focused on him-usually in reproach. And then there were the tantrums. When a piece was not played as Toscanini wanted it, "his irritation used to start at his feet and rise," recalls Bassoonist Sol Schoen-bach. "By the time it reached his mouth, it was like a volcano erupting." Toscanini cursed, kicked over music stands, broke or bit into his batons, jammed his hands into his jacket so hard that the pockets ripped...
...soon be within reach of it. He is a devotee of the dip-and-sway school of playing, but he has temperament and spunk, a luminous tone and a controlled technique. Out of a contrasting assortment of half a dozen pieces, he delivered a fine, full-blooded performance of Bach's Sonata No. 4, blazed easily through the trickiest passages of Prokofiev's Sonata in D Major, and captured the dark warmth of Brahms's deceptively difficult Sonata in A Major...
...opening movement of J.S. Bach's Sonata No.5 was reposed and meditative. Kalam used the lyrical possibilities of the piano to spin out long, smooth lines. Street's approach was even more subdued; his tone was always sweet-sometimes almost ethereal...
...opening number, Schutz' Jauchzet dem Herren, was a little square, for the performers ignored Schutz' constant shifts of meter. But the anti-phonal choruses had an excitement in their tone and enunciation, and gave a bouvancy to their lines, that prefigured the best qualities of the concert. Bach's Lobet den Herrn, alle Heiden, however, was disappointing in just these respects. The tempo was too slow, the words were totally inaudible in the women's parts, and the sopranos lost their nerve half-way through. Their tone lost all conviction, and the pitch, already shaky, deteriorated...