Word: concertant
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Dates: during 1970-1979
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...West Church Concert Series. Charles Krigbaum plays works of Lubeck, Couperin, Mendelssohn, Messaien and Bach on the organ at 3:30 p.m. at 131 Cambridge St. in Boston. Student tickets $1.50. Information...
...union still, as much as ever, needs your support. A benefit concert for the workers at Cambion will take place tomorrow at 7:30 p.m. in Sanders Theatre. Tickets are $2.00 at the door; each $2.00 will go a long way toward making the burden of their struggle a little easier to bear...
...FIRST concert in the 1976-1977 season of the Harvard-Radcliffe Orchestra almost requires two different reviews. The HRO, conducted by James Yannatos, put together a program of Berlioz, Shostakovich, and Brahms on Saturday night with greater fluency and strength than they have exhibited in several years. However, what really packed Sanders Theatre to overflowing proportions was the trio of pianist Richard Kogan, violinist Lynn Chang, and cellist Yo-Yo Ma, who performed on what must be described as a musical level comparable to the world's best...
First: the Harvard Trio, as they have billed themselves since they began their extensive appearances throughout the Brahms B major Trio, Op. 8, as a pre-concert prelude. The work was drastically revised by the mature Brahms, and despite its early opus number, its introspective intensity makes it an extraordinarily difficult work to interpret. But Chang, Kogan, and Ma (upon whom the trio now seems to be less visibly dependent for direction whirled through the work with abandon and brilliance. If anything, the second movement scherzo crept to the edge of brittleness; yet the sustained, almost religious adagio which followed...
...undeniably improved a lot; compared to their incredibly bad 1975 performance of Berlioz' Symphonie Fantastique, the French composer was treated with kid gloves in the concert's opening work, his Roman Carnival Overture. Terry Maskin, who was outstanding in the 1976 Harvard Summer School Orchestra, showed similar mastery in the tricky English horn solo, and the trombones cut through the string filigree passages with round sonority. Even the upper string intonation was not excessively distressing, and the forte passages seemed to herald a new, aggressive, full-bodied ensemble sound...