Word: rhythmics
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Dates: during 1960-1969
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...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...
...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...
...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...
...Beethoven exhibited a string section that was competent and solidly in control despite purported despoliation by this year's Bach Society Orchestra. Under conductor James Yannatos, the orchestra played with just the right kind of classical clarity and transparence. These qualities are more difficult to master than the rhythmic complexities of contemporary music or the pyrotechnics of late nineteenth-century orchestral style. All the elements which are so important in Beethoven--dynamic contrast, elegance of phrasing, orchestral balance--were consciously and sensitively achieved by orchestra and conductor. For the first time in three years, the HRO actually played subtly...
...sure sign of musical anarchy if everything in a composition comes out sounding the same. This is especially if the music is new and unfamiliar. But Schuller's Bagaetelles are full of contrasts--dynamic, textural, rhythmic--and the orchestra brought them out vividly and strikingly. Here the orchestra received a bit of unplanned assistance from the Cambridge Fire Department. At the end of the Third Bagatelle, the rising wail of the fire siren coincided exactly with the solo 'cello's ascending glissando. It was probably the only time 'cellist Martha Babcock smiled during a concert...