Word: bache
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...note, fell, as if from the heavens, to the pure tones of the unaccompanied quartet intoning the "Et incarnatus..." The Credo ended on a lighter note with a playful fugue on the text of "Et vitam venturi saeculi," (and the life of the world to come.), inspired by Bach's similar usage in his Mass in b minor. Brewer and Clemont's capricious interplay, along with the matching figures in the winds, added a touch of lightheartedness to contrast with the introspective mood of the Credo...
...first, however, the signs seemed to point elsewhere. Opening with Sonata No. 3 in E Major by J.S. Bach, Shaham was quick to highlight his remarkably fluid sense of a musical line and his impressive control of dynamics and tempo. However, the work was fairly unimpressive as an opening to a virtuoso's concert, and Shaham often failed to infuse the more lyrical sections with enough musical vitality and frequently attacked the quieter parts too aggressively. On a positive note, the choice of an early work did reflect the rest of the programs excellent selection of music from all genres...
Classical music connoisseurs, get down and Baroque with the Bach Society. Appreciate the torrential strains of Stravinksy's "The Soldier's Tale," Prokofiev's "Classical Symphony" and Beethoven's Symphony #3, "Eroica." 8 to 10 p.m., Paine Hall. $5 students, $8 general...
...kind of house I grew up in. But for me, this is the better choice. I mean, I don't think that they should dissolve Concord. My life is nothing like Beethoven's life, nothing like Verdi's, nothing like Mozart's, but rather similar to Bach's life. Bach spent the last (I think) 20 years of his life in this one church in Leipzig and he was sort of like composer in residence in that church. And his life was somewhat like my life, or my life was somewhat like...
...performance of Beethoven's Ninth was preceded by two excellent performances--opening acts--that much of the crowd missed while milling around and jockeying for perfect viewing positions. The first was a spirited performance of classical favorites--Verdi's Overture to The Force of Destiny, Bach's Air from Orchestral Suite No. 3, Tchaikovsky's Romeo and Juliet, and Beethoven's Egmont Overture--by the Greater Boston Youth Symphony Orchestras under the direction of David Commanday. The youth orchestra's performance was exuberant and technically sound; they played with a finesse one might not have expected to hear from...