Word: corelli
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...Cambridge Society for Early Music concluded its highly successful series of three concerts last Monday with a program devoted to instrumental works by Corelli and Handel. One again, the series filled Sanders Theatre, plainly showing this area's enthusiasm for the music of Handel, Bach, and their predecessors. In fact, this is the sixth Cambridge concert in about as many weeks wholly devoted to music composed before 1759. I sometimes wonder if some daring artist could be found to venture a local program including Schubert, Franck, or Dvorak...
However, the work of the Society and its musical director, Erwin Bodky, has been outstanding in the choice of the music, the authenticity of the performance style, and the general excellence of the performances. Monday's program consisted chiefly of four concertigrossi...two by Corelli, the composer who crystallized the concerto grosso form near the end of the 17 century, and two by Handel who with Bach brought the form to its highest development before it continued its evolution toward the concerto as we know it today...
...corelli concerti were only slightly less unpressive than the Handel, largely because they were eclipsed by the vutnese pertormance ruth Posselt gave to Corelli's A major violin sonata. Her flawless rendition of a breath taking perpetua mobile-type movement as well as her scrupulously clean articulation all evening again marked her as a technician of the highest order and her interpretations were colorful and exciting though never lacking in taste...
...since 1948's Yale game. Including standees, there were close to 40,000.While the crowd stood up and roared, and some said there was still hope, DICK CLASBY went over standing up in the second period. Score, Harvard 6, Yale 20. Eli defensive ends BROCK MARTIN (40) and CONRAD CORELLI (31) grimace as the watch Clasby about to cross the goal line...
...orchestra must feel secure enough in its renown to venture beyond the limits of the conventional concert program. Bartok, Stravinsky, Milhaud. Berg, Britten, Piston: shall we have to wait two more generations before they appear on a concert program as something more than rare curiosa? And Corelli, Vivaldi. Buxtehude, Palestrina, Monteverdi: shall we hear them only in recording or at rare chamber concerts...