Word: kohn
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Dates: during 1950-1959
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Nearly as impressive was Karl Kohn's The Red Cockatoo (1954), based on three Chinese poems of extraordinary beauty. Lime Woollen, Kohn understands how to emphasize a world without a shout from the singers or an unnecessary consonance. The percussive piano solo functions as a commentary on the singing piano solo functions as a commentary on the singing and only rarely stoops to outright chinoiserie. The Monk from Shu is especially effective in its delicate evocation of "icy bells." The climactic poem, however, fails to give the work a proper finish. The fate of the red cockatoo in the poem...
...Kohn has made it a passionate catharsis, and the inappropriate spill of emotion at this crucial point vitiates the cycle as a whole...
Randall Thompson '20, Walter Bigelow Rosen Professor of Music, Karl G. Kohn '48, teaching fellow in Music, and the Rev. Russell Woollen have written prices that will occupy a prominent place in the concert...
...episodes of intimate chamber music is the formidable task facing the performers. They must possess not only virtuosity, but a delicate rapport in ensemble; not only forceful rhythmic drives, but the courage (and control) to bring a lengthy phrase to a hushed and protracted close. Mr. and Mrs. kohn seemed aware of the immensity of their task. Much of the playing was brilliant as well as subtle. Yet on the whole, the performances of the Schubert works left too many problems unsolved or only half-heartedly assaulted...
...kohn, a teaching fellow in Music, who has thus auspiciously introduced himself as a performer, will he seen as a composer at the end of this month when the glee Club introduces his new cantata...