Word: concerte
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Dates: during 1960-1969
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...York was hardly a musical wasteland in 1842, when the city's Philharmonic Society gave its first public concert on Dec. 7. A large middle-class German population had brought cultivated tastes from abroad; the concert rooms and theaters were filled with touring opera companies on long visits, and there was an impressive roster of homegrown organizations. Indeed, two other Philharmonic societies had already come and gone. The first, founded in 1799, took part in George Washington's memorial services; it lasted until 1816; the second, put together in 1824, succumbed three years later, largely because a craze...
Dazzle & Boom. Last week Conductor Leonard Bernstein led the orchestra in a birthday celebration that was an almost exact copy of the first-night program. But little else was the same. At the birthday concert, the distinguished musicians in the black-tie audience far outnumbered those on the stage (among them: Composer Aaron Copland, Conductor Leopold Stokowski, Pianist Rudolf Serkin, Violinist Isaac Stern and retired Tenor Lauritz Melchior). Ticket prices were set as high as $35 (regular concerts currently bring an $8.50 top). The orchestra, which merged in 1928 with the rival New York Symphony and became the Philharmonic-Symphony...
...concert got off to a shaky start with the Mozart. Each of three major allegro sections begins with a set of fugal entries which leave the first and second violons especially exposed. In each case the entrance were painfully ragged. On the other hand; the second theme-group dialogues between oboe and flute were exquisite examples of ensemble and musicianship...
...movements sets to music texts from a collection of Chinese poetry translated into German called Die chinesische Floete. Together they take an entire hour to perform. The work was thus the weightiest on the program, and received the bulk of rehearsal time since the HRO's last concert a month...
...certainly in full view throughout the Mahler. The orchestra's performance was rife with premature entrances, bad ensemble, sloppy (though assidious) passagework and poor intonation. On the whole, the woodwinds came off better than the strings, though everyone seemed to be working hard. Marilyn Malpass was a model concert-mistress, at all times attentive to the conductor and heroically attempting to bring the rest of the section along with her. Oboist Carl Schlaikjer was shaky in the second movement, but recovered by the sixth and spun out some of the most mellifluous, well-shaped line I have ever heard...