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Newton Chamber Orchestra performs Robert Selig's prize-winning cantata, "Islands", the Strauss oboe concerto, and Brahms's Serenade No. 2. Philip Morehead, conductor and Patricia Morehead, oboe soloist...

Author: By Judy Kogan, | Title: Music | 5/20/1976 | See Source »

Richard Kogan '77, piano, Tamara Mitchel, soprano, appear in solo with the St. Lowell in the Fields Orchestra under the baton of Gerry Moshell. Brahms's Second Piano Concerto, the Prelude and Liebestod from Wagner's Tristan and Isolde, and Brahms's Lieder. Lowell Dining Hall, 8:30 p.m. and repeat performance...

Author: By Judy Kogan, | Title: Music | 5/6/1976 | See Source »

...thing which will undoubtedly suffer from neglect in Moshell's absence is the concerto--a musical genre which demands both quantity and quality of players. Moshell has scheduled a concert of all-meat and no-down concerti for his swan song. Offering several Brahms lieder as an hors d'oeuvre, Moshell at the piano will accompany soprano Tamara Mitchel '78 who might justifiably view these as warm-up exercises; she will then dive into Wagner's incredibly challenging Prelude and Liebestod from the opera Tristan and Isolde...

Author: By Judy Kogan, | Title: Music | 5/6/1976 | See Source »

...sustain the richness of the first half, the concert will close with the grandiloquent Brahms Second Piano Concerto, with Richard Kogan '77 appearing as solo pianist. The composition is considered one of the most difficult works in the piano literature, not only from a technical standpoint, but more importantly, because of its musical demands...

Author: By Judy Kogan, | Title: Music | 5/6/1976 | See Source »

After the intermission the orchestra seemed revitalized as they accompanied Sheila Reinhold, a special student, in a stunning performance of Prokofiev's Violin Concerto No. 2. Stulberg and the Bach Society nimbly handled the complicated rhythms. Even during tutti passages the group never covered the soloist. Gliding through frequent changes in mood from sad to satirical, Reinhold maintained complete control. She demonstrated an exquisitely pure tone amidst the large intervallic leaps which Prokofiev loved to inflict on musicians...

Author: By Audrey H. Ingber, | Title: All's Well That Ends Well | 5/4/1976 | See Source »

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