Word: concertizing
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Dates: during 1960-1969
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...HARDIN: LIVE IN CONCERT (Verve...
Died. Charles Munch, 77, famed conductor who led the Boston Symphony Orchestra with elegance and éclat from 1949 until 1962; of a heart attack; while on concert tour; in Richmond, Va. In the 1930s, Munch was the toast of Paris, where he was known as le beau Charles. Summoned to Boston to replace the old autocrat Serge Koussevitzky, the stately conductor earned the admiration of his musicians for his easy, gracious manners; Bostonians responded to his sense of drama and his flair for improvisation. A chronic under-rehearser who rarely directed any piece the same way twice, Munch...
...admirers believe that such lapses-as well as the lengthening pauses between record releases-result from the strain of trying to be both an artist and a commercial phenomenon in the music business. To keep up the momentum that started in Moscow in 1958, Cliburn plays a punishing concert schedule of well over 100 appearances a year. At fees that start at $7,500 for a solo appearance, this means that he makes something like a million dollars a year, including record royalties -although he coyly denies that he is rich ("Heavens, no!"). Furthermore, the travel, the friendship...
...nuance. Miss Janet Packer, the second solo violin apparently sensed this lackluster playing and performed with considerable artistic concern. The second concerto, distinguished by a beautiful first movement, fared much better with Tison Street and Daniel Banner as solo violins, and Philip Moss as solo cello. Mr. Street, the concert-master, articulated several of his solo passages indistinctly and failed to impose stylistic unity on the often disorganized violin section. Mr. Moss and the entire violincello section distinguished themselves as the Orchestra's finest performers...
...detached quaver figures, severely qualified the final work, Mozart's Symphony No. 29. I think that this was primarily due to simple orchestral fatigue after an especially strenuous program. The Andante, however, was played with considerable feeling. The primary problems of the orchestra in this work and throughout the concert were essentially a lack of stylistic homogeneity within the violin section, insufficient attention to phrasing and a peculiar inability to play a genuine piano. Each of the orchestra's winds performed admirably. Mr. Adams tended to exaggerate accompaniment figures and often failed to convey a sense of relaxation...