Word: bache
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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...
...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...
...Bach comes first and sets the stage; the singers keep the same costumes for the Beatle cantatas, which only heightens the feeling that parts of the program's halves are completely interchangeable. The Peasant Cantata's chorus -- which actually does not sing at all -- is well handled as a pantomiming backdrop to the two singers. The drinking scenes are especially colorful...
...chorus is perfect with extremely funny arrangements of "We Can Work it Out" and "I'll Be Back"; Weber and Fermin miraculously manage to keep straight faces and proper operatic stance through "Girl" and "Help." The orchestra, under music director John Adams, is fine with both Bach and the Beatles...