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...Woodworth distinguishes two separate moods in Cantata 51: the gladsome rejoicing of the first aria and the concluding Allelujal, and the quiet, more personal reflections of the second aria and chorale. Accordingly, the orchestra was made to dwindle to the bare continuo in this more intimate section, and Mr. Woodworth himself retired quietly to a vacant chair--somewhat disconcerting abdication in any other concert perhaps, but with Miss Addison as soloist (she who can quell Roger Voisin), there is no discontinuity. She moved from joy to introspection with assurance: and both halves of this bisected cantata joined smoothly into...

Author: By Anthony Hiss, | Title: Early Music: II | 11/21/1961 | See Source »

...Saturday's concert from 3-5 p.m. will be Telemann's Concerto in D major for Trumpet, Strings and Continuo and Concerto in D major for Trumpet, Two Oboes and Continuo; Boyce's Symphoiny no. 2 in C major and Symphony no. 4 in F major; Locatelli's Concerto no. 2 in C minor for Violin, Opus 2; Schuman's Carnaval; and Stravinsky's The Fairy Kiss, complete balled...

Author: NO WRITER ATTRIBUTED | Title: Summer Notes | 7/20/1961 | See Source »

Bach's cantata No. 133 "Ich Freue Mich in Dir," was performed by the orchestra and a small vocal ensemble. Under Harbison's forceful leadership, the instrumentalists consistently produced a luminous full-bodied tone. A highlight was provided by the sensitive oboe and continuo accompaniment to the contralto's aria; it had the cohesiveness of chamber music at its finest...

Author: NO WRITER ATTRIBUTED | Title: Bach Society Concert | 5/5/1959 | See Source »

...Mozart: Divertimento in B flat, K. 287 (V); Prokoviev: Prodigal Son (Vx); Handel: Sonata for Flute and Continuo, Op. 1 #7 (D); Schubert: Die Schone Mullerin (Vx); Britten: Variations on a Theme of Frank Bridge (L); Adam: Giselle; Vivaldi: Concerto in G major for two 'Celli and orchestra...

Author: NO WRITER ATTRIBUTED | Title: WHRB Program Guide | 3/18/1959 | See Source »

Mlle. Boulanger's technique as a conductor is not to lead, so much as to elicit the music from the players and singers, participating with them in chamber music fashion. She conducted standing at the piano, occasionally supplying her own version of a continuo part. This resulted frequently in uncertainty, and some awkward moments. But for the most part, she had the complete sympathy of the musicians, whose grasp of her rhythms and nuances amounted almost to mystical communion...

Author: By Paul A. Buttenwieser, | Title: Nadia Boulanger | 4/24/1958 | See Source »

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