Word: greenebaum
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Sunday evening's Paine Hall concert by the Bach Society Orchestra was an amateur event in the best sense of the word: it was obvious from beginning to end that conductor Michael Greenebaum and every one of his players love to make music. And this, after all, is far more important in a college group than technical perfection...
...extended cadenza allotted to it. McIntosh's runs were as even as pearls, and he exerted admirable dynamic restraint throughout (his versatility even extended to playing the horn in the other works). The initial orchestral tempo was sluggish, but McIntosh picked it up in his cadenza and Greenebaum kept it for the closing tutti. The slow movement, for the soloists only, should have had, to be authentic, a cello doubling the bottom line...
...Bach Society Orchestra, a group composed chiefly of undergraduates and conducted by Michael Greenebaum '55, gave its debut concert Sunday evening. The audience, which filled Paine Hall, expressed enthusiastic approval of this ambitious and well planned venture...
Handel has provided a veritable dictionary of musical rhetoric in which expressiveness is attained via articulation and in which major and minor scales and dominant harmony still evoke all the necessary emotional resonances in the listener. Mr. Greenebaum seems not to have scrutinized a single one of the phrasing patterns in the work. The thunderous 32nd notes in the introduction were played too slowly and without the indicated rest beforehand. Not even in syncopated rhythms was the uniform level of long bowings varied. The last movement was indeed played with a bright and appropriate staccato, but Mr. Greenebaum...
Charles Ives' Symphony No. 3 received a uniformly fine performance, which indicates that the Orchestra's chief service may be in the cause of new mucis. Mr. Greenebaum seemed thoroughly at home in a difficult score. Composed in 1904, the Symphony did not receive its premiere until 1946. Many seem to think that Mr. Ives' patience in waiting (all the while working over his insurance accounts) should be rewarded by extravagant praise of his daring and originality. Undoubtedly he experimented at an early time with techniques which have since become important in contemporary music. But overtones of Brahms and Wagner...