Word: schutz
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Dates: during 1960-1969
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Concert tonight by members of the Summer School Chorus, John Ferris, Conductor. Program will include works of Schutz, Distler, and Poulenc, and a selection of English madrigals. 8:30 p.m. Lehman Hall. Free...
...Choirs sang Gabrieli's O Jesu mi dulcissime, Sweelinck's Psalm 150, and Schutz's Psalm 150 with commendable intonation, balance, dynamic nuance, and tone. The parts were defined and clearly combined rather than blended into an ermine confusion. The antiphonal Gabrieli suffered from a slight lack of vitality, but at least avoided the exaggerated vivacity which often vulgarizes his works. Schutz's great Psalm, a polychoral, instrumentally supported work in concerto style, was distinguished for its sensitive singing and generally excellent brass playing. But the Sweelinck provided the evening's finest performance. Here purity of syllable, beauty of phrase...
...Schutz, who was born into the world of Shakespeare and Cervantes and died in the world of Corneille and Racine, was the greatest German composer before Bach. His surpassing importance as one of music's choral masters is exceeded only by his inexplicable anonymity. He absorbed the colossal Baroque style of Giovanni Gabrieli as well as the audacious innovations of Monteverdi, both Schutz's contemporaries and teachers, to forge a colorfully formal, intensely spiritual, quietly progressive style. In its unorthodox form, the Exequien looks forward to the cantatas of Bach and the oratorios of Handel. The work is characterized...
...result of doggedly exhuming every ornament as of pentrating to the irreducible dramatic intention of each composition. The performers were most successful in the movingSong of Simeon, in which a baroque solo choir in the balcony sings a text different from that of the main choir, symbolizing in Schutz's words "the joy of the blessed souls in heaven." TheGloria, a quodlibet of Lutheran chorale melodies was precisely thought out and excellently proportioned among the voices. As for the seven soloists, the men were more distinguished than the women in regard to vocal blend if not phrasing, with Daniel Collins...
...them invested with a Donizettian apocalyptic bravura, Mozart may have been only one year away from great operatic achievement in Idomeneo, but at the moment he was still close by the altar. Miss Curtis seemed intimidated by this Salome-like display but still bettered her prosaic performance in the Schutz. The two male soloists sang adequately, Robert Gartside's illustrative facial antics notwithstanding. I wished for vastly superior pronunciation from everyone concerned. The highlight of the Mozart was the translucent Laudate Pueri in which the choral balances were exact in well-intoned and excellently phrased singing. The chamber orchestra played...