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...Davis, 40, ranks as Britain's best conductor since Sir Thomas Beecham. He has a relatively wide repertory, ranging from Mozart through Berlioz to Stravinsky, and an uncanny talent for instilling the faded and familiar with fresh life. His straightforward technique combines grace with precision and gravity with rhythmic bite, and his touch in the opera pit is firm and stylish...

Author: /time Magazine | Title: Conductors: Gypsy Boy | 1/19/1968 | See Source »

...difficult choice. Seth Carlin is the most virtuosic pianist I have heard at Harvard. His performance of the Rachmaninoff Second Concerto displayed a near-perfect technical mastery of that demanding score. The runs and complicated accompaniment figures came through clearly without covering the melodic line. Carlin also demonstrated rhythmic control and power that put his playing on a professional level...

Author: By Philip N. Moss, | Title: Concerto Contest | 1/15/1968 | See Source »

...Igor Stravinsky and Leonard Bernstein. Combined with the nearly contemporary Town Piper Music of Richard Mohaupt (for the full Band) the work gave the second half of the program a decidedly Broadway cast. In both works Walker and the Band had an opportunity to exhibit the vitality and rhythmic drive that always make them worth hearing...

Author: By Robert G. Kopelson, | Title: Harvard Band and Wind Ensemble | 12/4/1967 | See Source »

...could not help but noitice an element of vulgarity in Adams's treatment of the music. Both the Haydn and the Mozart lacked the classical elegance that is so important in works of that period. In the Milhaud Adams adopted a grinding, spread-kneed approach and a style of rhythmic emphasis that owed more to Motown than nineteen-twenties jazz...

Author: By Robert G. Kopelson, | Title: Bach Society Orchestra | 11/20/1967 | See Source »

...well as off the program. Princeton began the evening with five of the composer's works for male chorus. As a convinced German Romantic, I can hardly object to this choice of music sui generis; but the texture of these pieces is so consistently homophonic, and the rhythmic pattern and figuration of accompaniment so adamantly constant that even I found the novelty wearing off after a while. What makes Schubert worth listening to are the exquisite tunes of harmony with which he glides so effortlessly from one surprising key to another. But it is really unfair to ask an audience...

Author: By Robert G. Kopelson, | Title: Harvard, Princeton Glee Clubs | 11/11/1967 | See Source »

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