Word: persichetti
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Dates: during 1960-1969
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Want to relax to Bach, Mozart, Brahms, Persichetti, Debussy, and Chopin? Flee to Holmes Hall at 8 p.m. tomorrow for a piano recital. Here Jane Myers perform Bach, Mozart, Brahms, Persichett, Debussy, and Chopin...
...Vincent Persichetti's Masquerade (1966) was the most recently composed and the most colorfully exciting offering. Beginning with a stunning passage for bassoons, saxes, and solo horn, the composition also contains a lovely oboe solo, and an evocative passage for flute, piccolo, and bass drum side. In addition, Persichetti calls for hammer and anvil, four timpani, xylophone, sizzle cymbal, ratchet, marimba sticks on suspended cymbals, and bare hands on snare drum. At the end of the composition, all these returned in a brilliant overall unity...
...rest of the program been as unified and steadily performed as the Persichetti, the evening would have been an unqualified success. But Walker often seemed to substitute rapidity for a clear sense of form. As a result, runs were frequently a struggle for the weakest members of the band, and dynamic levels tended to lack control, particularly in the two fanfares of Clifton Williams (1956) and Alexander Tcherepnin...
...Persichetti's Spring Canata, a setting of four poems by e.e. cummings for women's chorus, was in contrast vivid and lively. Vaughn Williams's In Windsor Forest, the most voluptous piece on the program, was also the best performed. Kay Tolbert's crisp solo in "The Conspiracy" and the chorus' rendition of the dreamy meanderings of the "Wedding Chorus" were perfectly natural and uninhibited. So were the two spirituals at the end of the program; Archie Epps in "Ride on King Jesus" created a lilting pulse that was still with me long after the concert. And in Britten...
...sweet accord. Billed as the FIRST ALL-BROTHER QUARTET IN MUSICAL HISTORY, they were a trifle jittery in the opening Hayden Quartet in D Minor, Op. 76, but soon found their stride. Turning to the contemporary, their readings of Quincy Porter's Quartet No. 3 and Vin cent Persichetti's Quartet No. 2 crackled with clean precision. In Dvorák's Quar tet in F Major, Op. 96, their tempos, if sometimes inflexible, were brisk and lively, their tone as rich and heady as a draught of May wine. Neither muscular nor mushy, their approach...