Word: schuberts
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...SCHUBERT OGDEN, 34, associate professor of philosophical theology at Southern Methodist University. Born in Cincinnati and a graduate of S.M.U.'s Perkins School of Theology, Ogden is one of the nation's most persuasive interpreters of Rudolf Bultmann's "demythologized" Christianity (TIME, Sept. 24, 1956). Methodist Ogden was denounced as an "antichrist"' by Texas fundamentalists after his Bultmannian study, Christ Without Myth, was published last fall. Ogden insists that he is "a Christian only by being a modern man," and being modern to him means explaining religion in terms that are acceptable to contemporary scientific...
...only gives De Koven the colic." At Manhattan's Town Hall last week, that injunction served to introduce Classical Disk Jockey Seymour De Koven, an evangelist of the baroque, a man dedicated to the proposition that scarcely any music worth listening to was written after 1828, the year Schubert died. After him, practically no composers were able to write decent "barococo" music, and the public had to settle for "nobodies like Berlioz and Brahms." Today, a segment of the public has also settled, quite happily, for De Koven. A self-appointed authority of magnificent self-assurance...
Vivaldi, Bach, Handel, Beethoven, Schubert-whoever the composer, the music is rarely heard quite as written: De Koven has an unsettling habit of cutting slow passages on the ground that "the fast ones are far more interesting." He is also a confirmed believer that "you don't have to be an intellectual to appreciate music. Who wants music to be profound?" De Koven's prejudices, in fact, are frequently more entertaining than his programs. "I attend no concerts," says he. "I consider them an anachronism like opera. Concerts are primarily mutual exhibitionism on the part of both performer...
Different flaws appeared when the choruses separated. The Glee Club's rendition of Schubert's Gesang Der Geister Uber Den Wassern handled admirably the contrasts of stanzas, but the tenors had a thin tone and blended poorly. The five piece string orchestra did have trouble with intonation, but it was a welcome addition...
...small disappointments of the first part of the program seemed scarcely important, however, by the time Madame Schwarzkopf had finished singing Schubert's Seligkeit, one of the seven encores which she bestowed upon the audience with the charm of someone giving candy to children who have behaved well. Here her voice soared buoyantly; the pianissimi were fine-spun and beautifully controlled. This vocal gold was at the service of an extraordinary musical intelligence in the Hugo Wolf group which followed the intermission: each song, as Miss Schwarzkopf rendered it, became a drama in miniature. The alternately anguished and tender dialogue...