Word: organist
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Dates: during 1960-1969
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...beautiful small piece. Bruckner belongs to that unhappy group of composers including Liszt. Schmidt, Reger, Vaughan Williams, and even Schoenberg, whose music is fashionably vilified without benefit of humane audition. The tedious and lamentable caricature of Bruckner most often encountered is of an amateurish, even childishly naive, rural organist who afflicted the world with eleven appallingly identical symphonies which are massive, repetitious, incoherent and only convulsively appealing. If he is given any credit at all, which rarely happens since people prefer summary condemnation to critical acceptance of monumental genius, it is as an influence on Mabler and certain...
Even during his own lifetime, Bach long stood low on the list of important composers. His contemporaries placed both Telemann and Handle above him. They considered him primarily the virtuoso organist. The last days of church concert music left Bach with an often insurmoutable penury of players and singers. He must often have felt the decline of contemporary musicianship as he played the organ, directed the choir, and conducted the orchestra at the same time. To the end, he affirmed his dedication to the sacred music whose reign was then work on a secular fugue to write extremely religious chorale...
Hundreds of other students benefitted from Woody's guidance in the various University musical organization he led. Woody conducted the Harvard Glee Club for 25 years, led the Radcliffe Choral Society for 33 years, and was University organist and choirmaster for 18 years. In 1958, however, he resigned these positions in order to give full time to teaching outside...
...Organ Concert at Appleton Chapel of Memorial Church. Marian Ruhl, Summer Organist, Harvard University...
REQUIEM, K. 626 (Telefunken). Mozart's liturgical music is tricky to interpret. But Karl Richter, an organist and harpsichordist as well as conductor, creates a performance that combines operatic grandeur in the Dies Irae with the religious awe attending death that is heralded by the sepulchral drumbeats at the close of the Agnus Dei. The four first-class soloists (Maria Stader, soprano; Hertha Töpper, alto; John van Kesteren, tenor; Karl-Christian Kohn, bass) enter into the spirit of their conductor's classical conception: they never struggle to achieve Wagnerian eminence of tone but modestly blend into...