The image shows a page from "The Christian Science Monitor" under the section "Arts-entertainment." The article, titled "Musical moderns play Messiaen to Musgrave," is written by Louis Snyder and discusses two noteworthy series of concerts that took place in Boston.

Summary of the Article:

Overview:

• Two notable series of concerts in Boston, one by the Boston Chamber Players at Sanders Theater and the other by the Musica Viva series at the Busch-Reisinger Museum, both showcased modern music.
• The concerts were praised for their adventurous programming and high standards of performance.

Boston Chamber Players:

• The Boston Chamber Players, under Richard Pittman's direction, presented their fourth and final concert of the season.
• The program featured works by Franz Joseph Haydn, Boris Blacher, and Olivier Messiaen.
• Highlights included:
  • Haydn's "Feldparthie" in B-flat major, a charming piece played with verve.
  • Blacher's "Divertimento in B-flat," which was a charmer.
  • Messiaen's "Oiseaux Exotiques," performed with virtuosity and precision.

Musica Viva Series:

• The Musica Viva series, directed by Seymour Shifrin, featured a concert with works by Thea Musgrave and Charles Ives.
• Musgrave's "Chamber Concerto No. 2" was a convoluted work that paid homage to Charles Ives.
• Ives' "Pierrot Lunaire" was performed with good humor, closing the concert and the season.

Key Points:

• Both concert series were noted for their high-quality performances and innovative programming.
• The performances were well-received, with particular praise for the execution of complex and demanding pieces.
• The article highlights the importance of these concerts in bringing modern music to the forefront in Boston.

The image is a page from "The Christian Science Monitor" under the section "Arts-entertainment." The article is titled "Musical moderns play Messiaen to Musgrave" and is written by Louis Snyder from Cambridge, Mass. The article discusses two musical series at Sanders Theater and the Busch-Reisinger Museum.

1. Sanders Theater Series:

   • The series featured the Chamber Players and was in its third year under Richard Pittman's direction. It was a paid subscription series with the last concert in 1971.
   • The Chamber Players' selections included music by Michael Haydn, Joseph Haydn, and Olivier Messiaen.
   • The article highlights the "Haydn Divertimento in B flat," played by Joseph Silverstein, Burton Fine, Ralph Gomberg, Sherman Walt, and Henry Portnoi, which was described as a delightful and well-crafted performance.
   • The "Messiaen Quartet for the End of Time" was noted for its religious and historical import, with the performers' skillful rendition of complex compositions.

2. Busch-Reisinger Museum Series:

   • This series, in its fourth and final year, also concluded in 1971.
   • The Messiaen Quartet, including Harold Wright, Jules Eskin, and others, performed Messiaen's works, which were described as a blend of religious and exotic elements.
   • The performance of John Heiss's quartet and Charles Ives' complex works was also noted, with a mention of the musicians' efforts to bring clarity and understanding to the compositions.

3. Specific Performances:

   • The performance of the "Fox Trot" and "Maxixe" from the "Diversion to Basso" by Michael Haydn was discussed.
   • The article mentions the virtuosity of the duo Doriot Anthony Dwyer and Everett Firth, who played a piece by Joseph Haydn.
   • Schoenberg's "Pierrot Lunaire" was performed by Jan Curtis, which was noted for its intricate and captivating nature.

Overall, the article provides a detailed review of the performances and the musicians' ability to interpret challenging and diverse musical pieces.

The image shows a page from the Christian Science Monitor, specifically from the Arts-entertainment section. The article, titled "Musical moderns play Messiaen to Musgrave," is written by Louis Snyder.

The article discusses two special musical performances held in Cambridge, Massachusetts:

1. The first series features the Boston Symphony Orchestra, with Richard Pittman in his third year as music director. This series was a subscription series that started in 1971 and included a diverse range of music, from traditional to avant-garde, with a focus on challenging music selections.

2. The second series is focused on the Chamber Players, including a program featuring works by Haydn and Olivier Messiaen. The program included pieces like the Haydn Divertimento in B flat and the Quartet for the End of Time by Messiaen. The Chamber Players were noted for their performances, which included a detailed selection of music that showcased both technical skill and artistic interpretation.

The article also mentions specific performances and musicians, such as the Messiaen Quartet and John Heiss' Quartet, and highlights the musical and stylistic intricacies of the pieces performed. It describes how the performances were well-received and praised for their depth and complexity. The concluding remarks touch on the varied musical challenges and the high standards of the performances.

The Christian Science Monitor - Arts-entertainment

Musical moderns play Messiaen to Musgrave

By Louis Snyder

Cambridge, Mass. - Two noteworthy series devoted to rather special music have just wound up. The Boston Chamber Players, comprised of those seated in the orchestra's first chairs, made the last of their trio of appearances at Sanders Theater on Sunday afternoon.

In its third year under Richard Pittman's direction, the Boston Chamber Players, like the Boston Symphony, has played the fourth and last of its concerts in 1971-72. Its initial venture as a paid subscription series at the Busch-Reisinger Museum, Cambridge, was a challenge. The music, modern, often difficult, was, perhaps, rather than exclusively to please. Neither is, certainly, in competition with the Boston Symphony, but it is calculated to serve an unusual repertory, geared to venturesome performers and inquiring tastes. Not every city in the land is so well served in this genre.

Haydn to Messiaen

The Chamber Players' selections ranged from a Divertimento by Michael (younger brother of Joseph) Haydn (1737-1806), through the late Ingolf Dahl's Duettino Concertante for Flute and Piano by Boris Blacher, and Olivier Messiaen's formidable "Quartet for the End of Time." A lengthy program, it was, for the most part, played with verve and assurance.

The Haydn Divertimento in B flat, played by Joseph Silverstein (violin), Burton Fine (viola), Ralph Gomberg (oboe), Sherman Walt (bassoon), and Henry Portnoi (bass), was a delight. From the opening Adagio, with its graceful recitative, to the final Rondo, on both sides of Kirkland Street, it was music in the modern idiom.

The Dahl, for Flute (Paul Litter) and Piano (Arnaldo Ghitalla), Trombone (William Gorton), and Piano (Gilbert Kalish) had a deliberate 20's ring, prompted by a witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and witty and 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The image is a page from the "Arts-entertainment" section of The Christian Science Monitor, specifically an article titled "Musical moderns play Messiaen to Musgrave" written by Louis Snyder in Cambridge, Mass.

The article discusses two significant musical series:

1. Haydn to Messiaen:

   • Chamber Players: This series, curated by musicians seated in the first chairs of the Boston Symphony Orchestra, included a concert featuring works by Michael Haydn, Paul Hindemith, and Olivier Messiaen. The concert was performed at the Hayden Human Rights Building by Joseph Silverstein (violin), Burton Fine (viola), and Jules Eskin (cello). The program was noted for its variety, showcasing pieces from different eras and styles, such as a divertimento by Michael Haydn and Messiaen's "Quartet for the End of Time."

2. At Busch-Reisinger:

   • The Messiah Quartet: This series featured a performance by the Messiaen Quartet, comprising clarinetist Harold Wright, cellist Jules Eskin, violinist Joseph Silverstein, and pianist Gilbert Kalish. They performed Messiaen's "Quartet for the End of Time," a work known for its profound emotional and musical complexity. The concert was praised for its intense and expressive interpretation, particularly the interplay of instruments and the atmospheric rendition of the piece.

Additionally, the article mentions a concert by Musica Viva that included John Heiss's "Quartet which it had commissioned," performed by the Boston Quartet. This piece was noted for its stylistic solo violin performance by Nancy Cirillo and its challenging, aleatoric (chance-based) techniques.

Overall, the article highlights the innovative and varied programming of contemporary and modern classical music by these ensembles.

The image shows a page from The Christian Science Monitor, specifically the Arts-entertainment section, featuring an article titled "Musical moderns play Messiaen to Musgrave" by Louis Snyder. The article discusses two noteworthy series of concerts at the Busch-Reisinger Museum in Cambridge, Massachusetts.

1. Messiaen Quartet:

   • The article begins by mentioning the Messiaen Quartet, which performed at the Busch-Reisinger Museum. The quartet included Harold Wright (clarinet), Jules Eskin (cello), and was accompanied by Mr. Silberman on the piano.
   • The performance included pieces by Olivier Messiaen, particularly his "Quartet for the End of Time," which was described as a program of great religious and historical significance.
   • The quartet's performance was noted for its exquisite and exotic sounds, with the clarinet and cello delivering solos that were both haunting and intricate.

2. Musica Viva Concert:

   • The article then discusses a concert by Musica Viva, which featured John Heiss's Quartet and works by Charles Ives and William Schuman.
   • The concert included a performance of Charles Ives's "Concord Sonata," known for its complex and unconventional musical structure.
   • Additionally, there was a performance of Miss Musgrave's 1966 piece, which was described as a convoluted work with a businesslike polish but also noted for its length and thickness.
   • The concert concluded with Schenberg's "Pierrot Lunaire," performed by Jan Curtis as the soloist.

The overall tone of the article is positive, highlighting the skill and dedication of the performers and the complexity of the compositions played. The concert series was praised for its dedication to serving an unusual repertoire, providing a platform for both emerging and established talents in the musical world.

This image shows an open book displaying a newspaper clipping or article with the headline "Musical moderns play Messiaen to Musgrave." The article is from the Arts-entertainment section of "The Christian Science Monitor," as indicated at the top of the page. The newspaper is dated and has a distinct vintage appearance, with slightly yellowed paper.

The article discusses musical events dedicated to modern music, mentioning the performance of specific compositions by Messiaen and contemporary pieces by other composers, such as Musgrave. There is a reference to performances by various musicians and ensembles, highlighting particular venues like the Busch-Reisinger Museum.

On the right side of the image, the visible edges of the newspaper pages suggest this article has been carefully preserved within a book. A white strip that appears to hold the page in place may be archival tape or another method used to secure the clipping. The background behind the book is nondescript and offers no additional context.

This image shows a newspaper clipping from "The Christian Science Monitor" under the Arts-entertainment section, page 9. The headline reads "Musical moderns play Messiaen to Musgrave" and the article is written by Louis Snyder from Cambridge, Massachusetts.

The article discusses two noteworthy music series that recently concluded their seasons. It reviews performances by the Boston Symphony Chamber Players and Boston Musica Viva, both known for presenting challenging music rather than exclusively pleasing their audiences. The piece mentions specific works and composers performed, including Michael Haydn, Ingolf Dahl, Boris Blacher, Olivier Messiaen, and Thea Musgrave.

The article goes into detail about the repertoire and the performers' interpretations, specifically highlighting a performance at the Busch-Reisinger Museum by the Messiaen Quartet. It notes the musicians' skill, the evocative nature of the music, and the audience's positive reception. The review also touches on a recital by Musica Viva featuring pieces by Seymour Shifrin and Musgrave, describing the works' complexity, length, and reception.

Overall, the article offers a thoughtful critique of modern classical music performances, emphasizing innovation and artistic challenge.

The image shows a page from a publication titled "The Christian Science Monitor", specifically from the "Arts-entertainment" section, as indicated at the top of the page. The page number is 9, and the headline reads "Musical moderns play Messiaen to Musgrave", authored by Louis Snyder and dated Cambridge, Mass.

The article discusses musical performances and series, focusing on contemporary and modern compositions. It mentions several notable events and performances, including:

1. The Boston Symphony Chamber Players:

   • A series of concerts held at Sanders Theatre under the direction of Richard Pittman.
   • The series included performances of works by Olivier Messiaen and other modern composers, such as Boris Godunov, György Ligeti, and Karlheinz Stockhausen.
   • The article highlights the challenging nature of the music, noting that it is "rather than exclusively to please" and is "calculated to level an unusual repertory geared to venture-some performers and inquiring tastes."

2. Haydn to Messien:

   • A Divertimento Players' selection ranging from Joseph Haydn to Olivier Messiaen.
   • The program included works such as Messiaen's "Quartet for the End of Time", Brahms' "Piano Quartet in G minor", and Ligeti's "Piano Sonata".
   • The article describes the performance as "lengthy" and notes the technical skill required, particularly in Messiaen's piece, which involved "exotic sounds" produced using sticks, whips, and finger tips.

3. At Busch-Reisinger:

   • A performance of The Messiaen Quartet with Harold Wright (clarinetist), Julius Eskin (cellist), Mr. Slovesian (violinist), and Mr. Kalish (pianist).
   • The article praises the ensemble's "delicate and declarative statements" and their ability to penetrate and amuse audiences.
   • It also mentions a performance of John Heiss's Quartet Vita, which was met with applause and recognition from the audience.

The article provides a detailed review of these musical events, emphasizing the complexity and modernity of the compositions and the skill of the performers. The layout includes a clean, formal design typical of a newspaper or magazine, with a clear headline, byline, and structured paragraphs. The text is printed in a serif font, and the page appears to be part of a bound publication, as indicated by the visible spine and adjacent pages.

The image is of a magazine or newspaper with a section titled "Arts-entertainment." The article is titled "Musical moderns play Messiaen to Musgrave" and was written by Louis Snyder. The article discusses two noteworthy music series in Cambridge, Massachusetts, the Boston Symphony Chamber Players and Boston Musica Viva. The article highlights the performances of the Messiaen Quartet, which played a piece by Messiaen, and the Boston Symphony Chamber Players, which played a piece by Haydn. The article also mentions the performances of the violinist Jan Carlisky and the pianist William Gibson.