Word: bachs
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...BACH AND HAYDN: MUSICAL OFFERINGS FIT FOR A KING. An instrumental ensemble from the Handel and Haydn Orchestra plays landmark works written for King Frederick the Great of Prussia and Joseph II of Austria. With Grant Llewellyn, directing J.S. Bach’s The Musical Offering, BWV 1079 (Super Thema Reale) and Haydn’s “Emperor” String Quartet, Op. 76 No. 3. Saturday, March 1 at 3 p.m. Tickets $9-$56, available at the Harvard Box Office or by phone (617) 496-2222. Sanders Theatre...
...fired up for game time, athletes Matthew B. Wallenstein ’06 and Christopher W. Black ’06 like to listen to inspirational music. As the pair relaxes in uniform before a competition, the gentle strains of Bach symphonies play in the background. Their bow ties are knotted, their blazers are wrinkle-free and they are ready to brave the inclement weather for the brand-new Harvard Croquet Society’s weekly match...
Opportunities beyond the VES department are scarce. On the Office for the Arts bulletin in Loker Commons, there are fliers for the newest Bach Society concert, elaborate posters for the Krokodiloes fall show, and provocative pictures advertising Cabaret. Yet, not a single slip of paper mentioned the visual arts. Even the arts section of The Crimson rarely features the visual arts, and the Advocate, which features art prominently, is published only four times a year...
BRITAIN Firemen Strike, Brits Shrug If the compositions of Bach and Mozart send some listeners into raptures, they also send some folks packing. Danish railway authorities used high-volume broadcasts of Bach's organ music and Mozart's doom-laden opera Don Giovanni to clear Copenhagen's main station of drunks and junkies. If things get really bad, they can always play The Ketchup Song.There was no al-Qaeda dirty bomb, no chemical plant disaster, no towering inferno. None of the worst-case scenarios imagined by tabloid journalists and military planners ahead of the U.K.'s first fire-services strike...
...Oceanid” and “Back to Bach,” the two newly-premiered pieces he choreographed, Mateo is as much working within the classical idiom of épaulement, glissade and ballotté as with the vocabulary of modern choreographers like Martha Graham. Mateo says his choreography moves beyond a mere extension of the tradition to translate “the intrinsic arrogance and aloofness of ballet” into that which is accessible to contemporary audiences of all “ethnic and economic backgrounds...