Word: e-flat
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...TIME, Oct. 6), Stravinsky got his wish. The composer's Threni, id est Lamentationes ]eremiae Prophetae (i.e., Threnody, Lamentations of the Prophet Jeremiah) is a complex, 33-minute work for six vocal soloists, chorus and full orchestra, and the bass part, ranging from middle B-flat to low E-flat, is the most difficult of all. At Venice, says Conductor Robert Craft, who rehearsed Threni's chorus, the starring role should have been the tenor, "but there was no question that Oliver ran away with all the honors." Last week music lovers could hear for themselves what...
...first half of the program consisted of Hindemith's Symphony in E-flat, composed in 1930. This is a turgid, tense work, and it received a rather turgid, tense performance. There were some passages of technical finesse and sparkle, particularly the wind sections of the last movement; but most of it was pretty dogged. Aside from some intonation problems, the notes were faithfully gone through, showing effort but very little imagination; as a result, the big, well-scored passages sounded good, the small, thin sections were dull...
...Divertimento Burlesca by Los Angeles' Benjamin Lees, 32, and the sprightly Three Songs for Bass and Orchestra by Chicago's late Edward Collins. As a counterpoint to such commissioned modern works, Conductor Johnson offered some elegant, rarely performed echoes of the 18th century; the Sinfonia Concertante in E-Flat, by Johann Christian Bach (youngest son of J.S.B.), the Partita in A Major for Viola and Orchestra, by French Composer Louis de Caix d'Hervelois...
...might be called the elemental power of the ethos of sublimity . . ."). The Overture is scored for "a prodigious array of percussion, pitched and unpitched," including three rifles, three Hoover vacuum cleaners (two uprights in B-flat, one horizontal with detachable sucker in C) and one electric floor polisher (in E-flat...
...final work, Piano Sonata No. 2 in E-flat by Allan Sapp, was played by the composer. The movements are: Larghetto, Allegro Molto, Andantino, and Allegro. This is an intensity about it that commands attention. Something is being said that is worth listening to, particularly in the faster movements, where brilliant figurations and subtle rhythms sustain a motion that has few lapses. The slower sections are less interesting, the Larghetto being the least successful of the movements. The Andantino, quiet and comparatively consonant, is sometimes a little too sweet and sometimes a bit irrelevant. On the whole, though, the Sonata...