Word: concert
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Dates: during 1960-1969
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...sidewalk out side and the buskers were there to clown, sing and fiddle, while their bottlers (assistants) passed the hat for coppers and shillings like Dickensian urchins in the night. Last week there were no buskers on the sidewalk. Instead, 40 of them were inside giving the concert of their lives. And no one had to pass a hat: more than 3,700 persons paid...
...concert was "a dream come true" for the greatest busker of all, Don Partridge, 26, who plied his trade in the streets of London for five years singing traditional English and American folk songs. One day last winter, a record company executive named Don Paul heard Partridge sing his own song, Rosie, on a street corner; he liked its cheerfulness and Partridge's McCartneyesque style...
...several corners of a cathedral, so that their sounds could meet, mingle and clash. With the following avant-garde works, listening to the music at home on stereo speakers or headphones is probably a better way to comprehend the composer's design than hearing it in a concert hall...
KARLHEINZ STOCKHAUSEN: GRUPPEN FOR THREE ORCHESTRAS; CARRE FOR FOUR ORCHESTRAS AND FOUR CHOIRS (Deutsche Grammophon). Composed between 1955 and 1959, these scores represent Stockhausen's first space compositions using nonelectronic sounds. Significantly, both works had their premieres in large, barnlike fairground buildings rather than on normal concert stages. In Gruppen, three orchestral groups totaling 109 players curve around three sides of the audience; in Carre, four groups of 20 players each, plus eight to twelve singers, face outward from a central circle. Both compositions fill the air with hard-edged blocks of dissonance that collide, clash and splinter with...
ELLIOTT CARTER: DOUBLE CONCERTO (Columbia). This terse, intensely cerebral score creates its stereophonic effect across the expanse of a normal concert stage, as two small orchestras, one centered around a harpsichord and the other around a piano-but both conducted by Frederik Prausnitz -toss questions and answers back and forth on some unnamed, obviously serious topic. The most striking musical effect is a slow, undulating, ill-tempered growl from the percussion toward the end of the piece that seems to sweep back and forth from one group to the other, murmuring imprecations at both...