Word: sinfonia
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Dates: during 1970-1979
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...Whirligogs," an early work, exhibits the same concerns. Lubovitch, exploring the ways shape and emotional suggestion interrelate, relies on representational gesture just verging on the abstract. Accompanied by Berio's voice collage "Sinfonia," black-hooded dancers appear, then a man and woman in bared dress. The hooded dancers return unmasked, later reappearing disguised, only to toss their masks defiantly to the side, and then again appear as dark spirits surrounding and overwhelming the lovers. Lubovitch uses his costume flexibly, allowing the masks to suggest rather than to define possibilities. He realizes the unanticipated. As a voice in flat monotone recites...
...program opened with the Sinfonia from Bach's Cantata No. 209, 'Non sa che sia dolore', written about 1730 in Leipzig. The cantata itself is based on an actual incident--a friend is leaving Germany for his native Italy, and Bach wants to wish him well, despite the sadness in parting. The Sinfonia, in B minor, sets this tone, and somehow greatly resembles the first movement of the D minor violin concerto...
...contrast, Monreal's second contribution, "Classical Symphony" to Prokofiev, shows off the company's technical powers and little besides. Ron Cunningham's "Holberg Suite," Frank Ohman's "Serenata," and Helen Heineman's "Sinfonia" do the same. Traditionally choreographed in alternating sections for soloists and the corps de ballet, the works don't give themselves the chance to develop a broader vision...
Lynn Chang, Stephen Hammer, Richard Yoder, and Yo-Yo Ma were the the soloists in Haydn's Sinfonia Concertante in B flat. Lynn Chang glowed in the limelight, playing the violin with just the right amount of youthful schmaltz, giving the entire piece energy and impulse. In their lesser roles, Richard Yoder's bassoon, Stephen Hammer's oboe, and Yo-Yo Ma's cello blended beautifully...
...only disappointments of the program were the Buxtehude setting of Ein feste Burg, an uninspired set of variations, and the postlude, the brilliant Sinfonia from Bach's Cantata #29 known in solo violin, solo organ, full orchestral, and Moog synthesizer versions. The Sinfonia was played brightly by strings and brass only to be let down by the organ. There was not enough bass registration to carry through the Church--in part, a design flaw of the Fisk instrument--but even the upper voices were too thin to compete with such a healthy orchestra. Coupled with a number of fingering lapses...