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...Honegger of the evening is a late and little-known Concerto da Camera for flute, English horn and strings. Unlike the tense and rigid bombast of his earlier works (notably the symphonies and the oratorios), the concerto is a relaxed, graceful, spacious and thoroughly un-neurotic work. The mood is pastoral but placid--suggesting, in Dr. Johnson's phrase, not an unkempt meadow but a well-rolled English lawn...

Author: By Anthony Hiss, | Title: Harvard-Radcliffe Orchestra | 3/11/1961 | See Source »

...soloists wer the winners of this year's HRO-sponsored concerto, Ellen Friedman '63 (flute), and Barbara Cohen '63 (English horn). Both ladies are excellent instrumentalists, and their clear, rippling tones flowed quietly over the lawn. The HRO strings here were at their best; under Mr. Senturia's precise and animated direction, they showed themselves subdued but very competent. The intonation was clear throughout, the phrasing deft and unobtrusive...

Author: By Anthony Hiss, | Title: Harvard-Radcliffe Orchestra | 3/11/1961 | See Source »

...CONCERT. The Harvard-Radcliffe Orchestra will present a concert that includes Junior Fellow David Lewin's Essay on a Theme by Anton Webern, Honegger's Concerto de Camera for Flute and English Horn (with Ellen Friedman '63, Barbara Cohen '63), Brahms' Symphony No.3 in F. Sanders Theatre; 8:30 P.M. Tickets at the Coop, or at the door...

Author: NO WRITER ATTRIBUTED | Title: CALENDAR | 3/10/1961 | See Source »

...CONCERT. The fifth in the Boston Symphony Orchestra's yearly forays into Cambridge. The program is scheduled to include Darius Milhaud's La Creation du monde, Schumann's Violin Concerto in d (soloist: Henryk Szeryng), and Cesar Franck's Symphony in d. Sanders Theatre; 8:30 P.M. Tickets at Symphony Hall, or at the door...

Author: NO WRITER ATTRIBUTED | Title: CALENDAR | 3/10/1961 | See Source »

...majestic finish, Igor played first violin, David second, in the D Minor Concerto for Two Violins, and the contrasts suddenly seemed to disappear. At one point it seemed to listeners that the elder Oistrakh had the more penetrating, his son the more silvery, tone; but when the same passage recurred in the concerto, the two violinists seemed to have swapped tone colors and styles. Said the Daily Telegraph's David Cooper: "The two play not simply as one mind, but as one instrument." The Oistrakhs agreed. Said Igor: "We don't know or feel differences or similarities that...

Author: /time Magazine | Title: Music: My Boy | 3/3/1961 | See Source »

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