Word: concerting
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Dates: during 1960-1969
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...YORK PHILHARMONIC YOUNG PEOPLE'S CONCERT (CBS, 7:30-8:30 p.m.).* Leonard Bernstein conducts Shostakovich's Ninth Symphony in a tribute to the composer's 60th birthday...
Thus spake Duke Ellington, 66, in the lyrics for his swinging Genesis, In the Beginning God. Putting on the "personal statement" in his Concert of Sacred Music with the full band in Manhattan's 157-year-old Fifth Avenue Presbyterian Church, the Duke made a joyful noise indeed. So did torchy Lena Horne, who sang an exquisite Christmas Surprise, the Ellington song about the birth of Christ. In doing hip hymns for the concert, which CBS will televise Jan. 16, the Duke explained, "You have to believe very strongly yourself or else it doesn't work. The pulpit...
...teachers and students. They were gathered to hear the neglected music of P.D.Q. Bach, the least-known offspring of Johann Sebastian. The opening Concerto for Horn and Hardart got off to a lively start when blaaaaaaat! It was Soloist Peter Schickele blowing on a duck caller attached to the "concert grand Hard-art," a four-wheel, coin-operated contraption that looked like a junkyard reject. As the music went sailing off in directions unknown, Schickele merrily blasted away on a kazoo, ocarina, bike horns, buzzers and doorbells. For a finale, he punctured six balloons with an ice pick...
P.D.Q. Bach (1807-1742) is the happy creation of Schickele, a composer and former teacher. The concert was a sometimes broad but always knowing lampoon of baroque music, carried off with just enough expertise to border on the believable. Some of the musical jokes, excellently played by a 20-piece orchestra of professional musicians, only a musician would understand. Others, such as the Pervertimento for Bagpipes, Bicycle and Balloons, any listener could enjoy. Treading on every musical cliché, fugues began and went nowhere, arias seesawed off and on key, and when a climax was needed, Schickele chimed in with...
Last week Caballé was cast in a role more befitting her regally commanding figure: Queen Elizabeth in the American Opera Society's concert version of Roberto Devereux, a recently resurrected Donizetti opera that is absurdly complex in its amorous entanglements but brimming with singable music. Her extended, melting pianissimos lingered in the air like wisps of smoke. At the end of the second act, she showed the stuff great prima donnas are made of, held the final high note beyond everyone else on the stage and, with an arrogant toss of her head, strode off still singing full...