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...Merie Noire and Quartet For The End Of Time by Olivier Messaien; Marilyn Chohaney, flute, Lynn Chang, violin, David Kass, clarinet, Craig Hogan, cello, and Hugh Wolff, piano; Kirkland JCR; 8:30; free...

Author: By Joseph Straus, | Title: Classical | 2/13/1975 | See Source »

Lynn Chang '75 of Kirkland House and Newton, Mass. won the Harvard-Radcliffe orchestra concerto contest last night. He will play Hean Sibelius's violin concerto in minor with the orchestra on March...

Author: NO WRITER ATTRIBUTED | Title: CONCERTO CONTEST | 2/13/1975 | See Source »

...average string quartet, the biggest problem in playing Carter can be just staying together. In String Quartet No. 2, the instruments are given music of a dramatically contrasting character: the first violin spins fantastic note flourishes, for example, while the viola sobs a lot. In Quartet No. 3, the first violin and cello are allowed expressive rubato; the second violin and viola are not. Says Michael Rudiakov, cellist of the marvelously together Composers String Quartet: "When you play this music, you jump and hope the parachute opens...

Author: /time Magazine | Title: Music: The Carter Vogue | 2/10/1975 | See Source »

...while the Composers Quartet was performing in New York City, Conductor Seiji Ozawa and the San Francisco Symphony were playing Carter's granitic Concerto for Orchestra (1969) in the War Memorial Opera House. In March, Pierre Boulez will preside over the world premiere of a new Duo for Violin and Piano at a New York Philharmonic Prospective Encounters concert. At 66, Carter would seem to be in danger of becoming that rare thing in contemporary music, a composer in vogue...

Author: /time Magazine | Title: Music: The Carter Vogue | 2/10/1975 | See Source »

...from the same dogmatism he criticizes in Adorno. His failure is a failure to listen to the music on its own terms. He imposes his tonal expectations on works that have a different internal logic. He points triumphantly to the Bach chorale quoted at the end of Berg's Violin Concerto, without recognizing it as a historical allusion like those he found in Stravinsky and Eliot. Berg used tonal devices frequently for certain kinds of effects, but rarely as a basic principle of his music...

Author: By James Gleick, | Title: Whither Bernstein? | 1/8/1975 | See Source »

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