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...rest of the program in any way noteworthy. Miss Dorothy Crawford, who has a pleasant voice, was the soloist in a secular cantata, Non sa che sia Dolore, attributed (maliciously) to J. S. Bach; the Orchestra's strings played Purcell's Fantasia on One Note with as much life as a bagpipe; and everybody fretted over the overture to Mozart's Impresario like gummed velvet...

Author: By Anthony Hiss, | Title: Bach Society Orchestra | 10/30/1961 | See Source »

SERVICE OF MUSIC. The University Choir, directed by John Ferris, University Organist and Choirmaster, assisted by the Bach Society Orchestra will participate in a Palm Sunday evening service of music that will include a performance of Bach's Cantata 131, Aus der Tiefe, and two motets by son Johann Cristoph. Memorial Church; 8:30 P.M. Open to the public...

Author: NO WRITER ATTRIBUTED | Title: Calendar | 3/24/1961 | See Source »

STRING PLAYERS AND SINGERS are invited to sight read Bach's Cantata No. 67 under the direction of Dick McIntosh '61. Holmes Hall...

Author: NO WRITER ATTRIBUTED | Title: THE CRIMSON WEEKLY CALENDAR | 3/17/1961 | See Source »

...turn of the century, a 26-year-old song tinkerer in Vienna wrote a gigantic cantata that profoundly impressed an already influential German composer, Richard Strauss. To Strauss, Arnold Schoenberg's Gurrelieder heralded a new flowering of post-Wagnerian romanticism. But the work was, in fact, only a massive monument to a musical tradition about to decay. After it, Schoenberg was to begin the experiments with atonalism that eventually determined the direction of 20th century music. Once popular in Germany, Gurrelieder had its U.S. premiere under Leopold Stokowski in 1932, has rarely been performed since. Last week at Carnegie...

Author: /time Magazine | Title: Music: Farewell, Romanticism | 3/17/1961 | See Source »

Bach's Magnificat in D, for Tovey, his "most comprehensively representative work," has proved itself an arduous undertaking for almost every choral group. Bach himself conceived the Song of the Virgin as an intricately subtle and profoundly joyous cantata, and he wrote for it instrumental parts that are as demanding as they are various and voice parts that combine a considerable amount of colortura with an unusually high tessitura. Under Elliot Forbe's direction, most of the intricacies were blurred, and the joy appeared in frequent flashes...

Author: By Anthony Hiss, | Title: Christmas Concert | 12/17/1960 | See Source »

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