Word: bache
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...audience in Manhattan's Philharmonic Hall was select - largely musicians, musicologists, music teachers and students. They were gathered to hear the neglected music of P.D.Q. Bach, the least-known offspring of Johann Sebastian. The opening Concerto for Horn and Hardart got off to a lively start when blaaaaaaat! It was Soloist Peter Schickele blowing on a duck caller attached to the "concert grand Hard-art," a four-wheel, coin-operated contraption that looked like a junkyard reject. As the music went sailing off in directions unknown, Schickele merrily blasted away on a kazoo, ocarina, bike horns, buzzers and doorbells...
...playing in the best big-band tradition of the 1940s for lighter numbers, deftly shaped a generous symphonic sound for Concerto in F and Rhapsody in Blue with grand, sweeping gestures. Says Lewis: "It's harder getting a symphony to swing than getting a jazz ensemble to play Bach." At performance's end, the audience cried "Grazie, maestro!" and the string players tapped their bows on their instruments, a high compliment that the tradition-minded orchestra has paid to only two other conductors (Herbert von Karajan and Victor de Sabata) in the past 20 years...
...program, others for a teen-age hangout. But later in the week, largely at the urging of NASA Secretary Geri Ann Vanderoef, the Kraft Music Hall, as it was called in honor of Flight Director Chris Kraft (TIME cover, Aug. 27), took on an elevated tone with selections from Bach...
...second method is to put the same melody in different contexts. This constitutes a strong return to the classical tradition. Probably the best example is Bach's The Art of the Fugue, in which one theme is put in hundreds of different harmonic, rhythmic, and mood contexts. Davidson played at this method continually Thursday night, perhaps most successfully in "Stately I." The harmonies sound awfully dissonant at first--as did regular triads in the Middle Ages--and the mood changes are more extreme than those in Bach, but the technique is similar...
Beethoven combines Haydnesque trickery with his own discreet innovations in the First Symphony. However, both humor and novelty escaped notice in Friday's performance. We did discover that the Bach Society can play very well when it wishes, as in the final Allegro, and also rather aimlessly, as in the shapeless, hurried Andante (which exposed the unpolished second violins...