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Nevertheless it did emerge that David Evitts and Gregory Shatten were the vocal and piano soloists for an extremely conservative program of Bach and Handel. The choice of works, by conductor Robert Baker, were in line with the Bach Society's year-long emphasis on music from the Bach-Haydn-Mozart axis, rarely exploring material before or after...

Author: By Kenneth Hoffman, | Title: Concerto and Cantatas | 4/16/1974 | See Source »

...Bach D Minor Concertowas given a solid performance with Gregory Shatten. There was an occasional disagreement in tempo between solo and conductor and some mechanical-sounding scale passages, but Shatten's playing covered a wide range of emotions. He maintained a beautiful soft volume in parts of the first movement and concluded it with a brilliant cadenza...

Author: By Kenneth Hoffman, | Title: Concerto and Cantatas | 4/16/1974 | See Source »

...credit for rescuing a concert abandoned by its soloists at the last moment belongs to Robert Baker. He kept the orchestra together through the difficulties inevitable in such a situation. His sense of ensemble balance, his greatest asset as a conductor, has been a tremendous gain to the Bach Society...

Author: By Kenneth Hoffman, | Title: Concerto and Cantatas | 4/16/1974 | See Source »

...sense of ensemble displayed throughout the work was extraordinary to hear. Complex rhythmic changes were handled to hear. Complex rhythmic changes were handled with a sureness that evades most choral groups. The choir's conductor, John Ferris, produced a fine sweep of phrase. Entrances were always sure, from the very first Amen of the Deus in adjutorium...

Author: By Kenneth Hoffman, | Title: Monteverdi | 3/27/1974 | See Source »

Still, the real show may be behind the scenes. Any performance of Les Troyens is a miracle of calibration. In the pit, Conductor Rafael Kubelik uses everything but radar to maintain contact with seven assistant conductors. They are backstage with walkie-talkies to communicate with each other as they herd bands and choruses around the platforms, often walking in the opposite direction from the motion of the turntable. When film sequences start to roll, Kubelik's tempos must not vary by more than four seconds from performance to performance...

Author: /time Magazine | Title: Music: A Win for the Trojans | 3/25/1974 | See Source »

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