Word: motet
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...Mozart's motet for soloist and orchestra, "Exsultate, jubilate," which preceded the Hindemith, fared less well. The spirit of Hindemith hovered over, giving an air of tenseness that was out of key with this more gentle work. The orchestra, which is usually excellent in accompaniment, was strangely insensitive and much too loud. Miss Lunn, although technically in full command of her difficult part, had to push her voice, and still was often inaudible, especially in the cadences. The entire performance of this work bordered on the hysterical...
...close to its original length of three and a half hours, and his idea about the fifteenth century pronounciation of "Protest-ant" and "nation-alism," wherever it came from, seems positively inspired. Caldwell Titcomb's musical score, which ranges from a shepherd's melody to a full-dress motet, is not only decorative but functional. In the epilogue it takes care of the wind, lightning, thunder, and clock chimes that Shaw ordered...
...dramatic. So do Robert Fletcher, whose costumes are extravagant but not ostentatiously so, and Caldwell Titcomb, whose music is colorful and strong. In the last act, for a final daub of stage color, Seale and Titcomb have collaborated to introduce a boys' choir singing an original 15th century motet. Perched on the very top of O'Hearn's set, the boys seem almost as high up as a choir should...
...Mass, but worth hearing anyway. Fleet performances by Laurence Berman and Richard Friedberg of two four-hand piano works, almost as much fun to listen to as to play. Group of pieces by vocal nonet: opening canon pretty insecure, but singers got better as they went along, and the motet Ave Verum came off very well. The celebrated "Dissonant" Quartet suffered at the hands of the Cambridge Quartet from raggedness and faulty violin intonation. If only all the players had been up to 'cellist Charles Forbes! The group has done much better in the past. Sarah-Jane Smith the concert...
...pieces by Mozart--"Laut Verkunde" and "Die Maurerfreude"--were not performed in an outstanding manner; clarity and precision were lacking. The motet, "Non vos relinquam," by Byrd, should probably have to tempi, although the remarkable voice registrations, involving a very high tenor, were brought out well when the wind obliged. Even the Maelstrom, however, could not have drowned out the rhythmic and almost percussive phrases of the Preger "Sanctus," a work of dubious musical worth, and even less liturgical relevance. Completing the serious part of the program were Dvorak's charming "Maiden in the Wood," and Milhaud's "Psalm...