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Henry Cowell, 63, turned up in Kansas City for the première of his 22-minute Concerto for Percussion and Orchestra. Using 64 percussion instruments, the concerto featured five percussion "soloists," whose duties proved so complex that they had to dart about the stage. Among the instruments employed: Chinese gongs, temple blocks, tom-toms, marimbas, vibraphones, Pyrex mixing bowls, a xylophone, a celesta, a glockenspiel. For all its fearsome instrumentation, the concerto proved to be one of Cowell's more immediately appealing works - alternately delicate and boisterous, crosshatched with curiously shifting rhythms. Less stark than the works...

Author: /time Magazine | Title: Music: American Premières | 1/13/1961 | See Source »

Brahms' Third Symphony will be the major work in most of the performances, Delbanco said. The group's repertoire will also include pieces by Stravinsky, Handel, Bach, Mogart, and Debussy, and Lawrence G. Franko '63 will perform Mosart's Concerto in G Minor...

Author: By Clark Woodroe, | Title: HRO Plans to Tour Northeast in April; To Visit Washington | 12/13/1960 | See Source »

...afternoon began with a performance of Vivaldi's Concerto per Orchestre per la solennita di S. Lorenso. The cheerful montony of Vivaldi's Concerti grossi is difficult to sustain, and the orchestra's playing was often marred by a somewhat fuzzy attack. The solist group, with the notable exception of the cellist Clarke Slater, also had an offday, and the strength of the winds only made the Concerto as a whole sound more ragged...

Author: By Anthony Hiss, | Title: The Bach Society | 12/13/1960 | See Source »

Verdi) Arturo (for Toscanini) Alfidi sat down at the piano and expertly played his own 25-minute Concerto in G Minor, dedicated to Queen Elisabeth. Said his proud father, Frank Alfidi, standing in the wings: "It's the first time an American boy plays for royalty...

Author: /time Magazine | Title: Music: Toy Symphonist | 12/12/1960 | See Source »

...first time he has played one of his numerous compositions. In Brussels, where he was introduced by his father as the "new little Mozart." he attracted a capacity crowd. As usual, he conducted incisively and with note-perfect memory of the scores. His own concerto strongly, if somewhat naively, reflected the influence of Beethoven, was studded with technical tricks that suggested a surprisingly wide knowledge of piano literature. While critics spoke cautiously of "an inspiration that is still embryonic," the audience gave Joey a standing ovation...

Author: /time Magazine | Title: Music: Toy Symphonist | 12/12/1960 | See Source »

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