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...composer who got a first New York performance of some of his music last week, Claudio Monteverdi goes a long way back. While he was composing his Vespers and Magnificat, Rome's St. Peter's Cathedral was still abuilding, Shakespeare was writing his Winter's Tale, Galileo was pondering the mysteries of the stars in their courses, Rembrandt and John Milton were toddling infants, and New York City-the year was 1610 -had not yet been thought...

Author: /time Magazine | Title: Music: Revolutionary Revived | 5/11/1953 | See Source »

Jean Lunn took on an ambitious task in three recitals of baroque vocal music at Paine Hall Wednesday. In such Italian works as those of Carissimi, Caccini, and Monteverdi, she presented some of the earliest samples of the "new music," a dramatic vocal style evolving during the latter 16th century. In works by Bach, Buxtehude, Couperin, Rameau, A. Scarlatti, and Maurice Greene she traced some of the greatest developments of this style during the following century and a half. The programs were discriminately chosen and revived much music of historical interest and great beauty...

Author: By Alex Gelley, | Title: Jean Lunn | 11/7/1952 | See Source »

...must feel secure enough in its renown to venture beyond the limits of the conventional concert program. Bartok, Stravinsky, Milhaud. Berg, Britten, Piston: shall we have to wait two more generations before they appear on a concert program as something more than rare curiosa? And Corelli, Vivaldi. Buxtehude, Palestrina, Monteverdi: shall we hear them only in recording or at rare chamber concerts...

Author: NO WRITER ATTRIBUTED | Title: ATTENTION MR. MUNCH | 10/9/1952 | See Source »

...York Philharmonic (Sun. 2:30 p.m., CBS). The Monteverdi Magnificat. Conductor: Guido Cantelli...

Author: /time Magazine | Title: RADIO: Program Preview, Jan. 7, 1952 | 1/7/1952 | See Source »

Unanimous in Geneva. The kind of natural singer whose effortlessness and grace make singing seem easy, she warmed up on the seldom-heard Recitative and Aria of Messagera from Monteverdi's Orfeo. She soared sweetly in Scarlatti's Le Violette, then navigated the vocal rapids of an aria from Handel's Joshua with sureness and poise. In a full, flowing voice, at its darkest the color of a ripe Spanish olive, she sang easily (if a trifle affectedly) through a group of German lieder and on to the songs of her native Spain. In her last encore...

Author: /time Magazine | Title: Music: Butterfly from Barcelona | 11/6/1950 | See Source »

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