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The image shows a newspaper clipping from Wednesday, February 9, 1972, featuring a review of a Boston Musica Viva concert held in Cambridge, Massachusetts. The review, written by Louis Snyder, discusses three premieres from the concert season, focusing particularly on two pieces: Arnold Schoenberg's "Consortium II" and Heinz Fusal's "Miorita."

Key Points from the Review:

1. Overview:

   • The concert included a world premiere of Arnold Schoenberg's "Consortium II," a U.S. premiere of George Crumb's "Black Angels," and the first American performance of Heinz Fusal's "Miorita."
   • The reviewer notes that among the three premieres, Schoenberg's "Consortium II" is the most notable.

2. Schoenberg's "Consortium II":

   • The piece is divided into three sections.
   • The first section features a "subtle ensemble of linear pitch fields."
   • The second section has "freewheeling" rhythms and spatial notation.
   • The third section is a "polyphonic strata of six parts."
   • The reviewer finds the piece remarkable for its texture and the interaction of timbres, comparing it to a "fugue" in its technical skill.

3. Fusal's "Miorita":

   • The piece is based on a Romanian folk song about a shepherd's murder.
   • The song is set to a German translation by a poet.
   • The music includes a narrator, a soprano, and instrumentalists.
   • The reviewer finds the music "distinguished" and the words "distinctly singable."
   • The piece combines spoken and sung elements, with the soprano's voice being a highlight.

4. Performance Details:

   • The concert also included Mozart's Trio in E-flat major (K. 498).
   • The instrumentalists mentioned are Nancy Cirillo (violin), Louise Vojgerchian (piano), John Heiss (flute), Sherman S. Goldman (bass clarinet), and Frank Epstein (percussion).

5. Additional Note:

   • A small note at the bottom mentions that the reviewer is mainly self-taught in music and offers background information and photos to interested readers.

The review provides a detailed critique of the musical compositions and performances, highlighting the complexity and skill involved in the pieces presented at the concert.

The image shows a newspaper clipping from February 9, 1972. The article is titled "Mozart, Crumb and two firsts" and was written by Louis Snyder for the Cambridge, Massachusetts newspaper.

Here's a detailed summary of the article:

The article discusses a concert by Boston Musica Viva, conducted by Richard Pittman, featuring works by Mozart, George Crumb, and Heinz Füssel. The concert included the world premiere of Joseph Schwantner's "Consortium II," the first American performance of George Crumb's "Makrokosmos," and the first American performance of Heinz Füssel's "Miorita" with Elsa Charlston as soprano soloist.

The article highlights the premiere of Schwantner's "Consortium II," which is described as a complex piece with sections that create an "active ensemble sound continuum and successive statements of linear pitch fields." The music is described as having a "freewheeling operation" and a "polyphonic strata of six parts." The piece employs spatial notation and is noted for its technical skill and vitality.

The second piece, Füssel's "Miorita," is a German translation of a Romanian folk ballad. The article notes the effective use of a soprano voice and various instrumental sounds like piano strings, flute, and violin bow hair, which create an interesting and fragmented texture. The instrumentalists are praised for their high quality of playing.

The concert concludes with Mozart's E-flat major Trio (K. 498), which is described as a skillful technical display by the performers, maintaining its vitality throughout.

The clipping also includes a note about the instrumentalists involved in the performance: Natalie Cirillo (violin), Jay Humeston (cello), Elaine Vosgerschian (piano), John Heiss (flute), and Frank Epstein (percussion).

The image shows a newspaper clipping from the "Herald" dated Wednesday, February 9, 1972. The article, titled "Mozart, Crumb and two firsts," is written by Louis Snyder and is based in Cambridge, Massachusetts.

The article discusses a concert by Boston Musica Viva, which included performances of works by Mozart and George Crumb, along with two world premieres. The concert was conducted by Richard Pittman and featured Joseph Schwantner's "Consortium II," a piece for string orchestra, and George Crumb's "Star-Child," with Elsa Charlton as the soprano soloist.

Key points from the article include:

• The concert was the third in a series, directed by Pittman.
• The premiere of Schwantner's "Consortium II" was noted for its complex structure and active sound continuum.
• The performance of Mozart's E-flat major Trio (K. 498) was described as a highlight, with a lively and skillful interpretation.
• Heinz Füsli's "Miorita," a polyphonic work, was also performed, showcasing its intricate and varied musical textures.
• The musicians and performers included in the concert were praised for their high quality and technical skill.

The concert included a diverse program with works that ranged from the classical (Mozart) to contemporary (Crumb and Schwantner). The musicians listed in the article include: Nancy Evans, violin; Jay Hunston, cello; Elaine Vosgerschian, piano; John Heiss, flute; and Frank Epstein, percussion.

The image shows a newspaper clipping dated February 9, 1972, from a publication that likely covered music or arts. The article is titled "Mozart, Crumb and two firsts" and is written by Louis Snyder.

The article describes a concert series by the Boston Musica Viva, which included several world premieres and notable performances. Key points include:

1. Concert Performances:

   • The concert included a world premiere by Joseph Szigeti’s Consortium II.
   • George Crumb's "Atmospheres" was performed.
   • The first American performance of Heinz Fusil's "Miorita" with soprano Elsa Charlston.
   • A performance of Mozart's 1786 Trio for Piano in E-flat major (K. 498).

2. Musical Analysis:

   • The article discusses the compositional techniques and stylistic elements of the works performed.
   • It notes the innovative and experimental nature of the concert's selections, including Crumb’s "Atmospheres" and the use of spatial notation in Fusil’s "Miorita".
   • The text mentions how the concert aimed to showcase both modern and historical compositions, creating a blend of styles and eras.

3. Musicians and Orchestration:

   • The article highlights the skillful direction of Richard Pittman.
   • Specific details are given about the instrumentation and the musicians involved in the performances, including the names and instruments of the ensemble members.

4. General Tone and Observations:

   • It mentions the engaging and varied sound continuum of the performances, aiming to highlight the technical virtuosity and artistic depth of the concert.
   • The concert's program was noted for its variety and the overall impression of vitality and staying power.

The clipping is from a page that appears to have some background notes or markings in the lower right corner, possibly indicating further information or notes related to the article or the event itself.

The image displays a framed newspaper article titled "Mozart, Crumb and two firsts" by Louis Snyder, dated Wednesday, February 9, 1972. The article discusses a concert by Boston Musica Viva in Cambridge, Massachusetts, led by Richard Pittman, featuring performances of works by Mozart, Crumb, and other composers. The article provides details about the pieces performed, including a world premiere by Joseph Schwantner and a work by Heinz Füssl. The text is neatly presented behind glass, and the framing includes a label at the bottom with the text partially visible, likely providing information about the article or the framing details.

The image is a newspaper clipping from The Harvard Crimson, dated Wednesday, February 9, 1972. The article is titled "Mozart, Crumb and two firsts" and is written by Louis Snyder.

Summary:

Cambridge, Mass. Concert:
The article discusses a recent concert by Boston Musica Viva in Cambridge. The program featured three premieres, each conducted by different conductors.

1. First Premiere - Joseph Schwantner's "Consortium I":

   • Schwantner's piece, "Consortium I," was noted for its active ensemble sound, which integrates continuous and successive statements of linear pitch fields.
   • The composition is highly interactive, requiring coordination among the performers.
   • The piece was described as somewhat uneven but concluded with vitality and power.

2. Second Premiere - Karlheinz Fuchs’s "Mioriţa":

   • This work is a soprano soliloquy based on a Romanian folk ballad.
   • The performance featured spatial notation, involving complex instructions for the musicians, including the use of a fretless morin khuur (a polyphonic instrument).
   • Soprano Elsa Charlston performed, using various vocal techniques and a crystalline lyric soprano voice to interpret the piece.
   • Despite the challenging score, the performance was musically coherent.

3. George Crumb’s "Eleven Echoes of Autumn":

   • This piece, originally composed in 1965, was played with finesse by the ensemble.
   • The music includes a mix of instrumental sounds, such as whispering, whistling, and playing the piano strings directly.
   • The performance was noted for its subtle and effective sound textures.

Ensemble Details:

• The Boston Musica Viva ensemble featured prominent instrumentalists, including Nancy Cirillo on violin, Jay Humeston on cello, John Heiss on flute, Ronald Barron on trombone, and Frank Epstein on percussion.

Additional Notes:

• The article highlights the varied and innovative styles of the composers and the complexity of the performances.
• The concert showcased a mix of modern and intricate compositions, emphasizing the ensemble's versatility and the performers' technical skills.

The image shows a newspaper clipping titled "Mozart, Crumb and two firsts" by Louis Snyder. The article is dated Wednesday, February 9, 1972. It discusses a musical event in Cambridge, Massachusetts, involving Boston Musica Viva and their third concert of the season conducted by Richard Pittman. The program included a world premiere by Joseph Schwantner's "Consortium II," the first American performance of Karl Heinz Füssl's "Miorita" with Elsa Charlston as the soprano soloist, and a piece by Mozart from 1786 for Piano, Clarinet, and Viola.

The article notes the relative accessibility of Schwantner's piece divided into three sections with varying musical characteristics. Additionally, it highlights Füssl's "Miorita," a work based on a German translation of a Romanian folk ballad with a thematic focus involving "two shepherds." The review comments on the ambiguity and symbolism in Füssl's composition and the performance quality.

The Mozart Trio is described as "handsomely played," and Crumb’s "Echoes" is characterized by various sound effects such as tapping, wind-like sounds, whispering, and violin techniques. The article also credits the performers by name, including violin, cello, piano, flute, clarinet, and percussion players. The overall tone is appreciative of the concert's lively and interesting musical offerings.

The image depicts a page from a publication, possibly a newspaper or a magazine, with an article titled "Mozart, Crumb and two firsts" by Louis Snyder, dated Wednesday, February 9, 1972. The top portion of the page features the article's text, with the left column summarizing musical performances in Cambridge, Boston, by various composers such as Richard Pittman, Joseph Schwantner, George Crumb, and Joseph Fennimore. It mentions performances of Henze's "Mozart" with Elsa Charlston and elaborates on the works, referring to their significance or to the musicians' performances. The right column continues the article, discussing the qualities of the pieces and performers, including Mr. Füssl's "Moritat," a rendition of a folk ballad.

The visual elements suggest the page has aged over time, with some discoloration and creasing on the physical paper. A curled page corner at the top right reveals another page underneath, which suggests it is part of a bound volume or collection of pages. The image also appears to capture a bit of text from the reverse side of the page, which is slightly visible due to the paper's thinness. There is handwritten text at the bottom right corner, but it's unclear whether it's related to the article or an external annotation.

The image shows a page from a newspaper or magazine dated Wednesday, February 9, 1972, featuring an article titled "Mozart, Crumb and two firsts" by Louis Snyder. The article discusses a musical performance by the Boston Musica Viva, which took place in Cambridge, Mass. The piece focuses on a concert that included several notable premieres and performances.

Key Details from the Image:

1. Header and Date:

   • The top right corner indicates the date: Wednesday, February 9, 1972.
   • The article is titled "Mozart, Crumb and two firsts" and is authored by Louis Snyder.

2. Content Overview:

   • The article describes a concert by the Boston Musica Viva, which is noted as being in its third season.
   • The concert was conducted by Richard Pittman and featured Joseph Schwanner's "Cosortium II" – a work described as the first American performance of Karl Heinz Fissel's "Miorita" with Alma Charlton as soprano soloist.
   • The article also mentions the Mozart E-flat major Trio for Piano, Clarinet, and Viola (K 498), noting it as perhaps the first performance of this work in the United States.
   • Another highlight is George Crumb's "Echoes of Autumn," described as the first American performance of this piece.

3. Musical Details:

   • The Mozart Trio is noted for its intricate compositional techniques, including linear pitch fields, active ensemble sound continuum, and rhythmic frame.
   • The Crumb "Echoes of Autumn" is praised for its innovative use of fragmented sounds, piano strings, wind instruments, vocal techniques, and violin bow hair.
   • The article highlights the directorial hand of Richard Pittman, noting the high quality of the performance and the skill of the musicians involved.

4. Performers:

   • The article lists several performers, including:
     • Nancy Cirillo (violin)
     • Jay Humeston (cello)
     • Luise Vosgerschian (piano)
     • John Heiss (flute and alto flute)
     • William Wrzesienski (clarinet and bass clarinet)
     • Frank Epstein (percussion)

5. Visual and Physical Context:

   • The page appears to be part of a bound book or archive, as indicated by the visible spine and the text at the bottom of the image.
   • There is a small note at the bottom of the image that reads:

     "Background information and photo courtesy of N. SAGE HERALD. All information confidential."
     This suggests the source of the article and emphasizes the confidential nature of the content.

Summary:

The image depicts a newspaper or magazine article from February 9, 1972, discussing a musical concert by the Boston Musica Viva. The article highlights several premieres, including the first American performance of Karl Heinz Fissel's "Miorita" and George Crumb's "Echoes of Autumn," as well as the Mozart E-flat major Trio. The piece emphasizes the innovative compositions and the skilled performance by the ensemble under the direction of Richard Pittman. The article is authored by Louis Snyder and is part of an archived collection.

This image is a page from a book or magazine featuring an article titled "Mozart, Crumb and two firsts" by Louis Snyder. The article discusses three musical premieres that took place in Cambridge, Massachusetts, including works by Mozart, Crumb, and Schwantner. The article provides details about the composers, the pieces being premiered, and the performances themselves. The article also includes a photograph of the musicians involved in the performances, with the names of the performers listed below the image. The article is accompanied by a small photograph of the composers and musicians, with the names of the composers and musicians listed below the image.