Word: concertizing
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Dates: during 1950-1959
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...minutes during the Bach Society Orchestra's concert Saturday night, it was difficult to remember that a chamber orchestra was playing in Paine Hall. The sonorous climaxes of three songs from Hindemith's "Marienleben" sounded forth with all the intensity and power of a full symphony. Disregarding the question of propriety, it was an astonishing demonstration of the virtuosity of the orchestra and its conductor, Michael Senturia...
...concert opened with a vigorous performance of Vivaldi's Concerto Grosso for four solo violins. David Hurwitz, Ronald Hathaway, Katherine Gratwick, and Ruth Miller performed the solo parts with consistent vitality and precision, if not perfect intonation. Although the contrast between the ensemble and the concertino group was not as great as it might have been in a larger orchestra, the string section demonstrated once again its brilliance and fullness, while Mr. Senturia emphasized the formal power and relentlessness of the concerto...
Unlike operas, which are best seen in opera houses, and symphonies, which are best heard in concert halls, chamber music is meant to be enjoyed at home. Originally designed for the palaces of the rich, it now makes ideal hi-fi listening, but for years American record buyers ignored the fact, turned the volume up and delightedly let the high decibels of opera and symphony beat them down. Chamber music accounts for only a small fraction of U.S. classical record sales, but there are some signs that the situation may be changing...
...refused so he could stay in Munich, where he developed a fine 100-voice Bach choir. Gradually the critics became disenchanted. Richter, they felt, had slipped into sentimentality; worse, he seemed to be reaching too far out for effects and succeeding only in distorting the master. After one disastrous concert, when he tried to branch out to Bruckner, the critics spoke of "limited musical horizon," "small technical capacities." Furious, Karl Richter tried to keep the press from his next concert...
...audience, rising to conduct arias and choruses, then dropping like a falcon to improvise accompaniments for the recitatives. The critics were disarmed. Richter gave them a joyfully dynamic performance that was nonetheless satisfyingly authentic. Admitting that there were no signs of Richter's previous peccadillos in this concert and genially explaining the old flaws as "growing pains," the dean of Munich's critics, Karl Heinz Ruppel, summed up the concert in one word: "Wunderbar...