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Last May. after two years of practice and water boiling, Harpsichordist Pleasants made her debut in Essen. Response was staggering. "She opened the door to the world of Johann Sebastian Bach," said one critic. Others acclaimed her "sovereign manipulation of tonal line," the subtle clarity of her rock-solid rhythm, taste and imagination. Wrote one fan: "It seems that the dry, tinkling sounds emanating from this delicate box satisfy an inherent longing for an orderly perfection which has long been lost in our vulgar present day." Last week, as Germany's "Hausfrau at the Harpsichord" continued her triumphant tour...

Author: /time Magazine | Title: Music: Hausfrau at the Harpsichord | 2/23/1959 | See Source »

...some high points, notably the stunning Gregorian chant tenor solo, sung by Donald Brown. The Williams Glee Club sang with perfect intonation and balance, but these could not make up for its unpolished and open tone. An uneasy, strained quality dominated the performance, relieved only occasionally by sections of tonal warmth...

Author: By Paul A. Buttenwieser, | Title: Harvard-Radcliffe Orchestra | 12/6/1958 | See Source »

Although the entire orchestra displayed an amazing competency and ease throughout the piece, special honors must go to the wind section for their ensemble work and tonal consistency, particularly in the opening theme, which was quite lovely...

Author: By Paul A. Buttenwieser, | Title: Harvard-Radcliffe Orchestra | 11/3/1958 | See Source »

Mary Fraley Johnson played the Sonata for Violoncello Solo, Opus 25, No. 3, in her usual dramatic and vehement manner. This piece is some-what similar to its predecessor from the same opus, but was not nearly so dissonant. It did, however, accentuate the same tonal richness...

Author: By Peter Lindenbaum, | Title: Hindemith Concert | 8/7/1958 | See Source »

...this work, notwithstanding all the criticism of Brahms' orchestral form as too thick or unimaginative, needs an orchestra for many reasons, as the substitution of an organ, as in Sunday's performance, made painfully clear. The instrumental effects, such as pizzicato, used as a foil to the voices; the tonal texture of different groups of instruments; and the all-pervading crescendo and diminuendo which is so essential--all these are impossible for an organist...

Author: By Paul A. Buttenwieser, | Title: Brahms' Requiem | 5/6/1958 | See Source »

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