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Gunther Schuller: Music for Brass Quintet and Fantasy Quartet for Four Celli (Composers Recordings Inc.). Composer Schuller, a onetime first-chair hornist for the Metropolitan Opera, explores the potential of brasses in a fragmented Quintet that is by turns haunted, anguished or raucously jeering. The fine Fantasy Quartet, with its dynamic rhythms and attenuated lines, finds the composer in a less ruffled but consistently moving frame of mind...

Author: /time Magazine | Title: Music: Classical Records: Mar. 9, 1962 | 3/9/1962 | See Source »

...Concerto Grosso, Senturia teamed up six bass viols, eight 'celli, and a harpsichord, with a large sized crew of string and wind players. It was a semi-Stokowski reading of Handel, with much contrast between the fervid string group and the more restrained, less impassioned woodwind ensemble. The solo passages occasionally caused problems, as did the corps of basses which mainly served to muddy the sound...

Author: By Ian Strasfogel, | Title: Harvard-Radcliffe Orchestra | 10/29/1960 | See Source »

...Bach Society let down its patron saint after serving his successor so handsomely. An ensemble of ten strings, supported by Michel Singher '62 on the harpsichord, was foiled by the virtuosic demands of the Great Man's Brandenburg Concerto No. 3. Intonation was faulty throughout, if not in the 'celli, than in the violins; the resultant thick texture took the edge off of Mr. Lazar's intimate and a bit over-respectful interpretation...

Author: By Ian Straspogel, | Title: Bach Society Orchestra | 10/24/1960 | See Source »

...Mozart: Divertimento in B flat, K. 287 (V); Prokoviev: Prodigal Son (Vx); Handel: Sonata for Flute and Continuo, Op. 1 #7 (D); Schubert: Die Schone Mullerin (Vx); Britten: Variations on a Theme of Frank Bridge (L); Adam: Giselle; Vivaldi: Concerto in G major for two 'Celli and orchestra...

Author: NO WRITER ATTRIBUTED | Title: WHRB Program Guide | 3/18/1959 | See Source »

Following the intermission came the most moving piece of the evening--Des Todes Tod, Opus 23a--in what was one of its first American performances. The piece is based on three poems by Eduard Reinacher and is scored for woman's voice, two violas and two 'celli. The soprano was Jean Lunn, who also organized the whole program. Her performance was outstanding, her interpretation dramatic, and her voice very clear. She was well supported by Miss Johnson and Judith Davidoff, 'cellists, and Mr. Eleftherakis and Joseph Pietropaolo, violists...

Author: By Peter Lindenbaum, | Title: Hindemith Concert | 8/7/1958 | See Source »

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