Word: heartz
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...demonstrated his versatility by performing with consummate skill on four diverse sizes of recorder as well as on an old wooden cross flute--all of which have utterly different playing techniques from the modern flute. The other musicians were Phyllis Olson, tenor and bass viola da gamba; and Daniel Heartz, harpsichord and lute...
...Heartz' harpsichord playing had some rhythmic tentativeness and wrong notes, but was adequate on the whole. As soloist he played Byrd's showy Praeludium and jaunty variations on the folk tune The Carman's Whistle. But most intriguing was Hugh Aston's Hornepype, taken from the earliest source of English harpsichord music; this too was a set of variations--not on a tune, but rather on a repeated bass pattern. It is striking for its period in its unusual length, and in the fact that it has an ever-increasing intensity whereas most Renaissance pieces preserve their initial level throughout...
Most of the audience seemed amused at the frequent lute retuning forced on Heartz in this group of works. But this problem has always plagued lutanists. A Frenchman once remarked, "I have more trouble keeping my lute fit for playing than maintaining my whole stable of horses...
Authentic Renaissance and Baroque instruments will perform the works of these composers. Performers for the concert are Daniel Heartz, harpsichord and Renaissance lute; Phyllis Olson, tenor and bass viola da gamba; and Howard Brown '51, cross flute and recorders...
...Veteran's Night. 1. March, "Les petits Matelots," Ganne 2. Fete Espagnole, Demerssemann 3. Waltz, "Vienna Blood," Strauss 4. Selection, "Simple Simon," Sloane 5. Overture, "Rienzi," Wagner 6. Entr' Acte "La Colombe," Gounod 7. Selection, "The Quaker Girl," Monckton 8. Invitation to the Dance, Weber 9. Selection, "My Lady," Heartz 10. Valse Militaire, Ganne 11. American Fantasy, Organ, Mr. Marshall. Herbert 12. March, "Second Connecticut," Reeves