Word: harbison
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Dates: during 1950-1959
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...Bach Society Orchestra played its first concert of the year with verve and discretion, though the fare offered was surprisingly light. Perhaps the orchestra's conductor, John Harbison, is thinking of the taxing problems he will face in preparing a Bach cantata for the next program. At any rate, the Haydn symphony (No. 8) performed on Sunday was charming, if slight, and an interesting example of a classical piece with baroque devices still hanging on. No. 8 is part symphony, part concerto grosso, employing a harpsichord and three solo strings; the solo'cello was played with particular suavity and grace...
...Harbison and the orchestra appeared to be most at their ease in the lively outer movements, where their energy and exuberance made an especially happy effect; the Andante seemed a bit pallid. But in the Allegro and the concluding "La Tempesta" (Haydn's cloudburst is Austrian naivete and gentility compared with Vivaldi's) they produced a sound richer and larger than the orchestra's numbers suggest. An even bigger sound could be heard in the substantial D minor piano concerto of Bach, in which the sonority of the opening unison belied the fact that the forces involved really amounted...
...Pastore (K. 208) by the 19-year-old-Mozart opened the program, and the orchestra played this delectable trifle crisply enough, though the same strings that were so impressive in the Bach sounded rather thin here. Even early Mozart can stand a good 25 violins. But Mr. Harbison has done good work with his players, making their attacks sharp, their rhythm excellent, and even raising the level of intonation. There is reason to expect more good things from the orchestra...
James D. Lorenz '60, President of the Debate Council, and John Harbison '60, conductor of the Bach Society Orchestra, agreed that activities complemented studies. A student is often restricted in course work from creative art, they felt...
...orchestral introductions were done with distinction; their sound was full-bodied, their phrasing, sensitive and their spirit, compelling. While accompanying Murray however, the orchestra made some surprisingly shaggy entrances and, at times, Harbison's more grandiose conception of the work resulted in the orchestra's drowning out Murray's playing. This imbalance and inaccuracy on the orchestra's part disappeared in the last movement when it joined the pianist in a vibrant performance of the finale--a fitting close to an excellent concert...