Word: schutz
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Dates: during 1960-1969
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...concert manager worth his 10% feels the same way, but when Jay Hoffman and George Schutz speak of their work, there is a decided absence of self-serving tone. Hoffman, 32, and Schutz, 28, comprise one of the busiest, most imaginative and most unorthodox management teams in New York. They have just wound up a highly successful month-long Mozart Festival at Manhattan's Philharmonic Hall under the sponsorship of Lincoln Center. Skeptics would have considered Mozart box-office suicide during a dreary New York summer. Yet the festival presented 26 consecutive concerts featuring more than 100 orchestra, chamber...
Full Houses, P.D.Q. For four years, Hoffman and Schutz have been producing offbeat concerts successfully on the premise that there is a sizable audience willing to buy programs first and names second. To reach that audience, they adopt tactics that would horrify conventional concert managers, who like to play it safe by riding war horses. Typically, they select the music first, then find accomplished but lesser-known performers to play it. Their first venture, in 1962, was a concert of all six Brandenburg concertos, which one critic forewarned them was nothing but "a lot of Bach and potatoes...
Unlike his recent predecessors, conductor Jack Jackson acknowledges the importance of performing rarely-heard early works. Friday's program began with the Sixth Suite of the Banchetto Musicale (1617) by Hermann Schein, a significant but neglected forerunner of Heinrich Schutz. The Suite, consisting of five stately dances, emerged slightly Stokowskified; an excessive number of strings, plus modern oboes and timpani, produced a far richer sound than their Baroque counterparts. And one could make a nice chorale out of the notes missed by the brass (an off night for them generally). But no matter; this was charming music, realized with spirit...
Princeton kicked off the concert with an unnecessarily dull interpretation of a selection from Heinrich Schutz's "Symphoniae Sacrae I." The major portion of Princeton's first half was given to a semi-dramatic treatment of selections from the opera "Richard Coeur-de Lion" by Andre Ernest Modeste Gretry. Despite the appropriateness of the light-hearted portions they performed, the choice was unfortunate. The Princeton Glee Club did not have soloists capable of handling the piece technically, with the notable exception of Marion Sleet...
Other works on the program include Omnes Gentes by Jacob Handl; Psalm 84, by Heinrich Schutz; and two motets, Ich Lasse Dich Nicht, by J.C. Bach, and Warum ist Das Licht Gegeben, by Brahms. The small chamber chorus will offer four settings of the Ave Maria by Joaquin des Pres, Schutz, Verdi, and Stravinsky, in addition to the Trois Chansons by Debuzsy...