Word: harpsichords
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Most of the numbers on the program came from the Middle Ages, Renaissance and Baroque. The major item, however, was the Sonata for Flute, Oboe, 'Cello and Harpsichord (1952) by Elliot Carter '30. The Piano Sonata (1946) marked the beginning of Carter's complete technical mastery. The present Sonata, which won the Walter W. Naumburg Musical Foundation Award in 1956, was written between two highly controversial and monumental works, the String Quartet (1951) and the Variations for Orchestra...
...four demonstrated considerable instrumental versatility. Mr. Brown, a virtuoso of long standing on the modern flute, also played several kinds of recorder. Mr. Fuller, a concert organist, here showed his skill on a rich-toned harpsichord built in 1955 by the local firm of Hubbard and Dowd. Miss Davidoff played both the 'cello and its quite different predecessor, the viola da gamba. Mr. Senturia, a first-rate oboist, also played on several sizes of recorder; and, in three pieces, he provided the chief novelty of the evening by performing on a krummhorn--a long obsolete, J-shaped woodwind with...
Still, on the whole, Carter handled well the many problems of timbre and balance presented by this odd medium, though in a few places he smothered the low register of the flute. The Lento was the most appealing movement, with its recurring effective series of chord clusters on the harpsichord and its busy, feathery middle section, which seemed to be Carter's idea of a modern Queen Mab scherzo...
Jazz once meant improvised music. Now jazzmen have taken to improvising musical instruments. Some of the weirdest recorded jazz sounds currently around come from a "gooped up" harpsichord and a clavichord caught by a closeup microphone. They are the products of two men from different sides of the musical tracks: 48-year-old Texan Red Camp, who supports himself by giving piano lessons in Corpus Christi, and Manhattan's Bruce Prince-Joseph, 32, the pianist, harpsichordist and organist of the New York Philharmonic...
...Camp works in ice and acid, Pianist Prince-Joseph, in his album Anything Goes (RCA Camden), coaxes surprisingly sensuous sonorities out of his pedal harpsichord. His album achieves a fusion of styles that he refuses to label either jazz or classical. In I Could Have Danced All Night, for instance, he starts with a theme from Rodolfo's aria, Che gelida manina from La Bohème, develops the second chorus as a Mozart sonatina, cuts loose briefly with a sample of stride harpsichord, returns to Bohème in the coda. The album should send hi-fi bugs...