Word: concerting
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Dates: during 1960-1969
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...JEAN-PIERRE RAMPAL, 44, the most famous French flutist of the age, this week had a concert date in Paris to play Mozart's Concerto for Flute in D Major. A large man with a suave stage presence, Rampal cannot make the flute sing as Baker can, but he does make it speak with a wonderfully expressive French accent. He is the master showman of his instrument, and he charms an audience as a fakir charms a snake...
...AURELE NICOLET, 40, Rampal's leading rival, last week started a ten-concert tour of Israel. A slender, clear-eyed man whose art is often touched with a quality of rapture, Nicolet is a poet of the flute who may well become its greatest virtuoso. While Rampal stands always a little aside from the piece he is playing, Nicolet knows how to yield to the music and enter more deeply into its being. Rampal is a magnificent mannerist, Nicolet the profounder stylist...
...SEVERING GAZZELONI, 47, the grand master of the difficult contemporary repertory, this week begins a monthlong concert tour that will take him from Copenhagen to Tripoli to Minneapolis. Fidgety and ferret-bright, Gazzeloni started noodling around with atonal music about 20 years ago, got fascinated when he found that in order to play the new music he had to dispense with the traditional flute technique and develop a new one. After several years of experiment, he developed one that permits him to cacophonize like an electronic menagerie. His art appalls the classical masters, but it reveals an exciting and significant...
...Harvard University Band and the Harvard Wind Ensemble will present a concert in Sanders Theatre tonight at 8:30 p.m. James Walker will conduct both groups in a program including works by Mosart, Persichetti, Thansas, and Barber. Tickets are available at the Coop and will be sold at the door...
Yannatos's ballet Oedipus, would probably be all right if it were performed with dancers. It effectively realizes its goal of conveying the kind of discomforting moods one associates with the tragedy of Oedipus. But as a concert piece it doesn't quite make it. It has its moments: an exciting crescendo in the first section, or the sometimes startling rhythmic attacks by the strings. Generally, however, it is disappointing. A few times the strings start a vamp that in most modern composers would lead to a moving buildup. But here the woodwinds sneak in a few insipid, undefined attempts...