Word: musicalization
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Dates: during 1970-1979
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...were president of the band, star soprano for the chorus, leading chamber music player and organizer of the jazz band in high school, huh? Join the club--everyone else was, too. During Freshman Week you will have a chance to show your stuff in endless auditions held by the marching, concert and jazz bands, the Harvard-Radcliffe Orchestra, the Harvard Glee Club, the Radcliffe Choral Society, Collegium Musicum, and the Bach Society...
...first of two performances last week, an electrical failure plunged the music tent into blackness at the finale, prompting a brief, wild surmise that Bess had succeeded.) Death, she sings to his departed spirit, is the "door from which you will never escape...
...brass and percussion (including steel drums). Stylistically he is what might be called a postserialist. Having explored the twelve-tone system in earlier compositions, he now works in a freely eclectic vein, yielding at times to the "tonal nostalgia" that Robert Craft pointed out in Alban Berg's music, at other times borrowing the jazzy strains of theater music. At Aspen, his pounding rhythms generated a powerful momentum and his thickly massed sonoraties built to sharp climaxes, especially in the big choral scenes. His solo vocal passages and more lyrical moments, however, seemed to lack a distinctive melodic contour...
...Amsterdam production, and the experience showed in his secure, if rather monochromatic, performance. Other major roles were ably filled by Rita Shane as Houdini's mother, John Brandstetter as his manager and Viviane Thomas as Bess. Conductor Richard Dufallo, who heads Aspen's annual Conference on Contemporary Music (at which Schat is one of this year's composers-in-residence), had the work firmly in hand. His youthful chorus and orchestra managed most of the score's difficulties, though without making them sound any less difficult...
...both the music and text were upstaged by the magic. Several of Houdini's feats, including his water-can escape, were authentically and grippingly duplicated by Mark Mazzarella, a 19-year-old college sophomore. But the cost of going for such theatrical pizazz was a loss of psychological depth. Houdini offered almost no plot, almost no human interplay. Throughout the evening, a large portrait of the magician stared out at the performers from the ear of the stage, as if challenging them to account for his mysterious driven nature. The tricks, the career, the public appropriation...