Word: choraling
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...Choral director Archibald T. Davison '06, James Edward Ditson Professor of Music, emeritus, died at his home Monday night...
...success. ("Come, dears," wrote a society columnist. "You will hear wonderful things.") But there were grumblings even then that Romeo and Juliet was a curious hybrid-neither symphony nor oratorio nor opera. What Berlioz was aiming for was a new amalgam of symphony and opera in which vocal solos, choral and instrumental passages were mixed in loosely linked episodes. In Berlioz' musical shorthand, some moments of highest passion-the passages between Romeo and Juliet-are left to the orchestra alone because it offered "a richer, more varied, less limited language" than would have been possible with words. The soloists...
Samuel Barber, 50, saw his Die Natali: Choral Preludes for Christmas given its first New York performance by the New York Philharmonic. The remarkably successful piece is essentially a patchwork of familiar Christmas carols artfully embedded in unfamiliar harmonies-0 Come, O Come, Emmanuel, We Three Kings of Orient Are, Silent Night, God Rest You Merry, Gentlemen. The mood for the most part is reflective, the tone intensely lyrical, as most of Barber's best music is. The only truly shocking section of the piece is also one of the most effective: the brasses suddenly explode into a jazzy...
Leonard Kastle is a composer who likes romantic music, romantic themes and good old-fashioned melody. He is, in short, a musical square. But Kastle is a gifted composer of song cycles and choral works, and a man with ideas about opera. This week Composer Kastle and his ideas re ceived a nationwide airing: in a two-hour telecast the NBC-TV Opera gave Deseret, the first work to be given its premiere on the show since Stanley Hollingsworth's La Grande Bretêche four years...
...arrival of the kings and a final hosanna of thanksgiving. More operatic than oratorio-like in style, the work opened with a skirl of oboes and the beating of a high-pitched hand drum, developed its theme in a flow of Catalan folk-flavored melody, interspersed with grandiose choral effects and rich orchestral passages that sounded like amplifications of Casals' own famed cello tone. High points were an impressionistic dialogue between oboes and clarinets, which suggested the mystery of the birth, and the bright, triumphant closing canticle, which employed the full 150-member chorus (among the singers: Casals...