Word: bache
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Dates: during 1960-1969
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...Bach-lover who was not at Sanders Theatre Saturday evening has cause to regret it. Bach performed really well is a rare event. The concert given by the Cantata Singers under the direction of Leo Collins was such an event...
PETER AND THE WOLF (Verve). Bach has been the take-off point for many a jazz exploration. Why not Prokofiev, too? Arranger Oliver Nelson has appropriated the Soviet composer's famous symphonic fairy tale and begins with a straightforward statement of the familiar themes: bird, duck, cat, wolf and Peter. But then a high-spirited jabberwocky takes over as Nelson's two dozen men come on strong, paced by Jimmy Smith at the organ...
...their skepticism and hedonism, the Now Generation's folk art reflects a uniquely lyrical view of the world. Music is its basic medium, having evolved from the brassy early days of rock 'n' roll into the poignant, pithy beat of folk-rock (or "Rock-Bach" as the West Coast enthusiasts call it). From the controlled venom of the Beatles in a song like Eleanor Rigby ("Wearing the face that she keeps in a jar by the door") to the Eliotesque elegance of Simon & Garfunkel's Dangling Conversation ("Like a poem poorly written/We are verses...
...excellent group of soloists and a nicely balanced program made the second concert of the Bach Society Orchestra even more successful than the first. Mozart's Bassoon Concerto, which opened the concert, was a delight. Soloist Jackson Bryce's tone was full and rich from the bottom to the top of his range, his phrasing graceful, and his technical control impressive. He played the romantic cadenzas pensively, entrancing the audience. Conductor Daniel Hathaway controlled the orchestra tightly, following Bryce's phrasing and balancing him nicely...
...Happily, Bach's Brandenburg Concerto No.5 matched the brilliance of the Mozart. Harpsichordist G. S. Rousseau ripped through his part with a technical virtuosity that left listeners breathless. His concern with speed caused him to rush in all three movements, but his control and clear phrasing helped make up for this. Violinist Marylou Speaker and flutist Leslie Claff both played very sensitively, executing their imitative sections elegantly. Miss Speaker's tone was rich and warm; Miss Claff's was clear but, unfortunately, was often covered by the orchestra. The strings, especially the violins, were astonishing: their sound blossomed...