Word: schmidts
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Dates: during 1960-1969
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...Beethovan Mass in C, Op. 86, Joel Lazar's Cantabrigia Orchestra joined the chorus to give a performance which had moments of both inordinate inspiration and egregious sloppiness. Coordination between the two forces was haphazard, this due to Schmidt's sacrificing clarity of beat in favor of a continuous, feverish intensity of motion. He huffed and he puffed, he grimaced with grief, he smiled with beatific joy. Sometimes he succeeded (usually in fortissimo passages), but most often he was unable to convey any unified conception of this difficult and eccentric master-piece. Of the four vocal solists, Barbara Wallace...
...plastic disc, one often wonders what peculiar force continues to attract listeners to a concert given by amateurs. The near-capacity crowds at Sanders during the past two Thursday nights suggest however, that Audio-Lab has yet to monopolize the listener's world. Last night Prof. Harold Schmidt of Stanford conducted the Summer School Chorus and Cantabrigia Orchestra in a program that was as varied in quality as it was in repertoire. Realizing that an entire evening of full chorus and orchestra would be a dubious effort on only seven weeks of rehearsal, Schmidt wisely reduced his voices to madrigal...
...terribly difficult to put together and always effective. The singers also made the most of Holderlin's Weltschmerz. Accompanist Robert Kopelson's two-piano arrangement was the best thing next to a full orchestra. He and Lowell Lindgren played it admirably, managing to succeed in spite of Prof. Schmidt's inconquerable compulsion to conduct even them...
...shortcomings aside, people left Sanders convinced that these students liked to make music and that Harold Schmidt liked to conduct...
...Boston Symphony), but has justifiably long outlived its original occasion. The piece is stylistic conservatism at its best; for sheer sensuous serenity it would be hard to beat. Yesterday's players were joined by thirty-odd members of the Summer School Chorus, well prepared by Professor Harold C. Schmidt. The concertmistress solo fiddling wandered off pitch a bit, and the orchestra in general never got as soft as it should have until the final cadence; but there were delectable sounds all the same, and of the five vocal soloists Vicki Hall's soprano was simply ravishing...