Word: schuberts
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Wednesday night Miss Wilsen presented a recital for soprano remarkable for its originality. Instead of the usual chronological sequence of song groups by Schubert, Schumann, Faure, Wolf, Debussy, and so on, her program was divided between Cantata No. 51 of J.S. Bach ("Jauchzet Gott in allen Landen"), setting by various composers of Goethe's "Rastlose Liebe" and Paul Verlaine's "Clair de lune," along with the cycle On This Island by Benjamin Britten to poetry of W. H. Auden...
...strong, rhythmic Schubert's Third Symphony opened Saturday evening's program; basses and celli played with striking clarity, and the string sound was alive and tuned. The last three movements were less compeling in rhythm than the first, and the winds were often out of tune, but these were minor obstacles to the emotional realization of the music, which was always there...
...Mozart Symphony No. 36 brought forth better intonation from the winds, and the strings had a pleasing, gentle attack. Like the Schubert, the Mozart was alive, and never dull. Nevertheless, something was missing or misplaced. It was as if the excitement had become confused with the music, so that the detachment by Mozart was absent. Rather than feeling invited to view a large movement from above, the listener was immersed in the music, running after phrase upon phrase. Perhaps sharper contrasts of dynamics or articulation would have made the Mozart as enjoyable as the Schubert...
...thinkers to study the cultural setting of Biblical writings, he was the forerunner of modern critical scholarship on Scripture. Convinced that denominationalism had outlived its usefulness, he was an embryonic ecumenist and worked to achieve a merger between Germany's Reformed and Lutheran churches. "People are learning," says Schubert Ogden of Southern Methodist University's Perkins School of Theology, "that Schleiermacher was the first great theologian to articulate a reinterpretation of Christian tradition in reference to modern life...
...abound with dramatic contrasts. His concern is not detail but sweep and sound. He hears music with his nerve ends more than with his intellect. For this reason, he is less assured when he traces the transparent architecture of Mozart and Bach, or unfolds the subtle poetry of Schubert. Yet these are not fatal flaws in a conductor of his age. What is important is that he has the right foundation to build on. The visceral spark is primary; the intellect and poetry can come later. Without the root intuition, the other qualities would never fully bloom...