Word: couperin
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...intricate ornamentation, and even arpeggios must be tossed off at great speed, yet retain the graceful framework in which they were conceived. Alexander Gelley '55 and Theodore Schultz 7G not only surmounted purely technical obstacles; they brought a delicate clarity to the occasionally obscure scoring. Their selections ranged through Couperin, Telemann, and Mozart, 'and Mr. Gelley represented the modern solo repertoire with Hindemith's Sonata...
...Hindemith sonata that matched Mr. Gelley's. Melville Smith's brilliant harpsichord playing transcended the role of mere continue and turned the keyboard into an integral part of the ensemble. Midway in the evening, he delighted the audience with an interlude of harpsichord pieces by Byrd, Bull, and L. Couperin. They provided contrast to the suave tone of the woodwinds and added a touch of brighter color that perfectly balanced the program. ROBERT M. SIMON
...Byrd Mass was followed by two suites for strings and continue, one by the 17th century English composer John Jenkins and the other by Francois Couperin. The pleasing, simply-constructed movements of the Jenkins were given a graceful rendition by Anne Gombosi, violin; August Wenzinger, a visiting lecturer from Switzerland; Stephen McGhee, viola da gamba and John Dvison, harpsichord. But the Couperin is quite a notch above the Jenkins musically, and Mr. Wenzinger's virtuoso performance further augmented the excellent impression it made. Because of the elaborate ornamental conventions of the period in which it was written, a great part...
...task in three recitals of baroque vocal music at Paine Hall Wednesday. In such Italian works as those of Carissimi, Caccini, and Monteverdi, she presented some of the earliest samples of the "new music," a dramatic vocal style evolving during the latter 16th century. In works by Bach, Buxtehude, Couperin, Rameau, A. Scarlatti, and Maurice Greene she traced some of the greatest developments of this style during the following century and a half. The programs were discriminately chosen and revived much music of historical interest and great beauty...
...Couperin's Premier Lecon de Tencbres, sung by soprano Helen Boatwright, was not a total success. The music too often bore no relation tot he words (excerpts from the Book of Jeremiah.) Still, there were many powerful moments such as the final plea to Jerusalem, which is repeated five times with different treatment each time. Miss Boatwright may not have the strongest voice in the world, but it is clear and accurate, and she sang with real comprehension of the Latin text...