Word: concerte
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Dates: during 1960-1969
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Whether Dylan's new album signals an actual return to public performance is fogged with conjecture. He still hides from reporters, and no plans have been announced for concerts beyond an appearance at Manhattan's Carnegie Hall next week at a memorial concert for Woody Guthrie. But whether he is in or out of sight, Dylan's power as a trendmaker and prophet for the college-age crowd is sure to grow with the appearance of John Wesley Harding...
...from the whole problem, instead took down from a dusty shelf the three Brahms Piano Quartets that he had not played publicly or privately for over a decade, and got them back into his fingers and heart for the recording sessions. Why this, rather than brushing up on the concert programs? "It was like coming back to old friends," he explained during the session. "It filled me with music...
...This was not a concert but a celebration of the affinities among the musicians," explained Pro Musica Director John White, who conceived the project. Actually, the quality of the program was as mixed as its media. The lighting effects eventually became tiresome distractions; the electronic sounds some-times rambled and screeched. Yet the shattering of conventional concert categories was exhilarating, and the music at its best did reach White's goal of achieving "some great moments," notably in a delightful collaboration between the Pro Musica and Circus Maximus on Guillaume de Machaut's 14th century song Douce Dame...
...show that "somewhere in the past all these kinds of music have a common ground. Our music and rock are similar in that the rhythms are strong and vital, the harmonies are crisp and clear, and there is so much improvisation that the performer is part creator. In our concert, groups thought to be opposed were working together for the same purpose...
Died. Paul Whiteman, 76, pop conductor who for two generations filled dance floors, concert halls and the air-waves with his "symphonic jazz"; of a heart attack; in Doylestown, Pa. Trained in the classics on the viola, yet fascinated with jazz's "abandon," Pops Whiteman arrived at a sweet and golden middle road that pleased audiences everywhere-on million-seller records (Whispering), radio, TV, nightclubs and the concert stage. He took chances on new music (Gershwin's Rhapsody in Blue) and new musicians (Tommy Dorsey, Jack Teagarden), but his staple was rich, smooth orchestration that kept his foot...