Word: canticum
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Music Department. The Fromm ContemporaryMusic Series presents London Sinfonietta Voices,with Terry Edwards coducting. The program featuresMonteverdi's Lagrime d'Amante and Luciano Berio'sCries of London and Canticum NovissimiTestamentum, with Luciano Berio conducting.Sanders Theatre, 8 p.m. Free...
...premiere Friday as a memorial to the composer, who died a week ago yesterday. This symphony, called "Symphonie Concertante," is one of the more skillful anthologies of Stravinsky's music to appear since World War II. Its first movement presents the principal ideas of Agon, with a dash of Canticum Sacrum; its second, themes from The Rite of Spring; its third, themes from The Symphony of Psalms. After carful editing removes the boring parts where Hartmann tries some of his own tricks, the symphony should be very popular in short courses on twentieth century music literature...
...Baroque and classical music are also included in the two-hour performance. Praetorius' "Canticum Trium Puerorum" for small and large choruses, brass enable, and organ; madrigals by Hassler killmayer, Marenzio, Monteverdi, and Morley; and three choruses from Handel's Solomon will be performed...
...highly dissonant intervals like minor seconds, thereby permitting continual suggestions of tonality, while orthodox twelve-tone theory axiomatically excludes anything tonal. (Concerning Threni, Stravinsky has mentioned the "triadic references in every bar.") Also, the series is fragmented, transposed and otherwise manipulated so that lines recall Oedipus Rex and the Canticum instead of Schoenberg. The rhythm and scoring is all Stravinksy; in particular the reserved, consciously archaic Stravinksy of the past few years; more reflective, less apparently expressive than, say, Krenek's twelve-tone setting of Jeremiah, also deliberately archaic...
...tone method used to be famous, has now written a piece derived almost entirely from on twelve-tone row. Everyone knew it was coming: the direction of the wind could be ascertained in 192, with the inversions and retrogrades of the Cantata; then real twelve-tone sections appeared in Canticum Sacrum and Agon: then came Threni ("Threnodies"), a long (for Stravinsky) setting of texts from the Vulgate Lamentations of Jeremiah. Nor was it hard to predict that this piece would sound like Stravinsky, and not like the Viennese, the young serialists, or anybody else. I did find...