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...subordinates herself to the music at hand. Her easy-going interpretation was perfect for this comparatively light-weight work. 'Cellist Samuel Mayes, who appeared in all eight parts of the program, showed remarkable versatility. His tone was full and rich in the important solo sections, but in the later continuo passage he held himself down so that one could barely hear him over the harpsichord...

Author: By Lawrence R. Casler, | Title: Cambridge Society for Early Music | 11/5/1952 | See Source »

...Bach's Quintet in E flat for flute, oboe, violin, viola, and continuo concluded the program. The combination of woodwinds and strings resulted in some unique tonal effects, but the work itself seemed not worth the trouble...

Author: By Lawrence R. Casler, | Title: The Music Box | 11/21/1951 | See Source »

Practical problems in the performance of choral music of different periods. Dynamics, rhythm, tempo, basso continuo, instrumental accompaniments, number of performers, balance of parts, and related problems of style, approached historically and analytically...

Author: NO WRITER ATTRIBUTED | Title: Spring Term Course Additions | 2/3/1947 | See Source »

...extremely interesting section of the program is to be devoted to chamber-music by Corelli and Mozart for two violins, cello, and organ continuo. Sonatas written for this combination, with the harpsichord as an alternate for the continuo, were the equivalent in Corelli's day of the string quartet, and in fact evolved into the later form during the classical period. Corelli himself wrote a tremendous volume of them, some forty odd, of which two are to be played tonight. Three of Mozart's one-movement sonatas for the same combination of instruments will also be played, and they probably...

Author: By Jonas Barish, | Title: THE MUSIC BOX | 3/24/1941 | See Source »

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