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What is lacking in Basehart's performance is sufficient feeling for the glorious music of Richard's speech. From his first Wales scene to the end, the play is a cantata with Richard as soloist. Richard is above all a poet-musician; he prefers ears to spears, couplets to doublets, books to hooks, writing to fighting, rhyme to grime. Basehart does not sing well enough...

Author: By Caldwell Titcomb, | Title: Eighth Stratford Summer Season Opens With Adept Production Of "Richard II" | 7/2/1962 | See Source »

...quality of Friday evening's Bach Society concert in Paine Hall ranged from bad to mediocre. Horn soloist Joel Kotin's silvery tone and sure techniqque almost raised Mozart's Fourth Horn Concerto in E-flat to the level of excellence. But vacillating accompaniment from the orchestra, conducted by Andrew Schenck, and an intrinsically ordinary concerto, prevented even Kotin's performance from saving the program...

Author: By Joel E. Cohen, | Title: Bach Society Orchestra | 5/8/1962 | See Source »

...Cambridge Ballet Theater. That is untrue. The opening "Air" and two "Gavottes" from Bach's Third Suite in D. Major had the misfortune to introduce dancers encumbered with awkward and ludicrous choreography. A troupe of rheumatic frogs would have been more graceful, although it must be added that soloist Richard Hendrik improved when the tempo picked up in the Gavottes, where Senturia got the orchestra to produce bouncy dynamic contrasts...

Author: By Jorl E. Cohen, | Title: Senturia's Last Bow | 5/1/1962 | See Source »

Carissimi's popular 'Historia de Jepthe' (1645) brought the program to a well-tailored conclusion. Major soloist for the evening, Marguerite Paquet (alto) gave the traditionally tenor Historious part an impressively smooth and certain performance. Mr. Sorenson again delivered a fine solo...

Author: By Joel E. Cohen, | Title: Nadia Boulanger | 4/16/1962 | See Source »

...boss in a concerto-the conductor or the soloist?" rhetorically demanded the New York Philharmonic's Maestro Leonard Bernstein, 43, in his latest outburst of podium pedagogy. Answer: "Sometimes one, sometimes the other, but almost always the two manage to get together"-except in the case that prompted Lenny's musings: the latest Philharmonic appearance of intractable but talented Pianist Glenn Gould, 29. After explaining to the 2,800 in the audience that he disapproved of Gould's interpretation of Brahms's D Minor but would defend to the death an artist's right...

Author: /time Magazine | Title: People: Apr. 13, 1962 | 4/13/1962 | See Source »

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