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...Organ Concert--Melissa Black, Harvard-Epworth Methodist Church. Appleton Chapel. Free...

Author: NO WRITER ATTRIBUTED | Title: Calendar | 8/5/1969 | See Source »

...composers. His contemporaries placed both Telemann and Handle above him. They considered him primarily the virtuoso organist. The last days of church concert music left Bach with an often insurmoutable penury of players and singers. He must often have felt the decline of contemporary musicianship as he played the organ, directed the choir, and conducted the orchestra at the same time. To the end, he affirmed his dedication to the sacred music whose reign was then work on a secular fugue to write extremely religious chorale fantasia...

Author: By Richard E. Hyland, LAST MONDAY AT SANDERS THEATRE | Title: The Concertgoer | 7/29/1969 | See Source »

MONTREUX-VEVEY FESTIVAL (Aug. 29-Oct. 5) offers a varied but traditional program, including Mozart by Yehudi Menuhin's Festival Orchestra, Bach played on the organ by Munich's Karl Richter, Corelli and Vivaldi by I Musici di Roma, and even a night of Indian music with Sitarist Debabrata Chaudhury and Tabla Virtuoso Sitaram. The highlight of the festival will take place on Sept. 17, when the Orchestre de la Radio Suisse Italienne will present a concert of Mozart and Haydn atop 10,000-ft.-high Diablerets Glacier...

Author: /time Magazine | Title: Time Listings: Jul. 25, 1969 | 7/25/1969 | See Source »

...borders between science and science-fiction grow steadily less precise. Biophysics and medical engineering, as Alan Harrington notes, have begun to grope for the secrets of extending life. Organ transplants and artificial parts are already promising realities. The author also cites such wildly remote possibilities as quick-freezing incurables until cures can be found, administering rejuvenating shots of DNA and even duplicating an entire human body from genetically coded snippets. To exclamations that immortality achieved by such means is an impossible dream or a presumptuous nightmare, Harrington asserts that man is capable of anything...

Author: /time Magazine | Title: Books: Sit-In on Olympus | 7/11/1969 | See Source »

Boos and Bravos. Penderecki scored the opera for an 80-voice chorus and a massive orchestra: 32 woodwind and brass instruments, 42 strings, an organ, harmonium, electric bass guitar and a diverse array of percussion instruments, including timpani and musical saw. Though it produces the now familiar range of Penderecki sound-semi-tones and quarter tones, tone clusters, glissandi and primitive knocking noises-the orchestra plays a secondary role to the chorus, which is constantly busy humming, singing neo-Gregorian chant, screaming, laughing, muttering and yelping...

Author: /time Magazine | Title: Opera: The Devil and Penderecki | 7/4/1969 | See Source »

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