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...successfully staved off the strings, but were drowned by the chorus's volume. Except at a few points, it seemed that the chorus had been through the whole thing before and was tiredly stampeding home: Frederic H. Ford, conductor at the Radcliffe Freshman Choral Society, whipped it through the Sanctus at a gallop...

Author: By Joel E. Cohen, | Title: Freshman Choral Concert | 3/17/1962 | See Source »

...more important thirst of the soul. Elevated feeling in the human spirit is generally ignored by modern composers, but it is an important response to the musical art. Any thinking person who made a list of the ten greatest compositions would have to include some exalted music--like the Sanctus of Bach's B Minor Mass, or Mozart's Magic Flute...

Author: NO WRITER ATTRIBUTED | Title: Music Master | 4/24/1959 | See Source »

...lacking. The motet, "Non vos relinquam," by Byrd, should probably have to tempi, although the remarkable voice registrations, involving a very high tenor, were brought out well when the wind obliged. Even the Maelstrom, however, could not have drowned out the rhythmic and almost percussive phrases of the Preger "Sanctus," a work of dubious musical worth, and even less liturgical relevance. Completing the serious part of the program were Dvorak's charming "Maiden in the Wood," and Milhaud's "Psalm 121," a rather nondescript work sung in a nondescript manner. A humorous song, "Casey Jones," provided the transition...

Author: By Bert Baldwin, | Title: Glee Club Sings | 5/11/1956 | See Source »

...judges picked Sinfonia Sacra, by Ramiro Cortés.* Last week, in Manhattan's Carnegie Hall, Conductor Mitropoulos played Cortés' work with the Philharmonic-Symphony. Its first movement (Kyrie) was a slightly stolid development of an oId Mexican tune in slow tempo; its second (Sanctus) was as reedy and antique sounding as a drafty baroque organ; its finale (Dies Irae), driven by busy motoric rhythms, included some fine furious flights of imagination and a paraphrase of an ancient Gregorian Dies Irae...

Author: /time Magazine | Title: Music: In the Prize Ring | 4/18/1955 | See Source »

Cathedral Hush. Everything following might be expected to be anticlimactic, but Berlioz achieves perhaps his greatest effects in the quieter passages that grip the heart after all the thunder. The superb Sanctus calls for a tenor solo in which, by a dazzling piece of orchestration, the single, defenseless human voice is set off against the relentless clash of cymbals; and in the sweet, concluding Agnus Dei, there are chilling traces of jagged pagan rhythms (later used by Stravinsky). Conductor Munch tenderly and forcefully drove toward the end, spinning out the Amen with a loving final touch. A cathedral hush hung...

Author: /time Magazine | Title: Music: Requiem at Tanglewood | 8/30/1954 | See Source »

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