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The image shows a newspaper clipping from the Boston Evening Globe, dated Wednesday, December 6, 1972. The article is titled "Busch-Reisinger concert: Musica Viva-striking contrasts" and is written by Michael Steinberg, the Globe critic.

In the article, Steinberg discusses a recent concert at the Busch-Reisinger Museum, highlighting the differences in quality between two pieces: "Solo" by Karlheinz Stockhausen and "Differences" by Luciano Berio, which were performed by Musica Viva, and "Dream, and Joyce, Dream" by George Edwards, commissioned for Musica Viva by the Goethe Institute Boston and performed by Musica Viva last season.

Steinberg praises the precision and invention in "Solo" and "Differences" but finds "Dream, and Joyce, Dream" less impressive. He also commends the conductor, Richard Pittman, for his help in making the new work accessible to the audience.

The article includes a detailed critique of the performances, mentioning specific instruments and performers, such as Jan Curtis on flute, John Heiss on alto flute, Andrew Lott on bass clarinet, Victor Langenback on violin, and Adriana Anca on harp. Steinberg appreciates the musicians' skill and the composer's settings, which, despite not being extremely original, are engaging and well-crafted.

Overall, the article provides a thoughtful review of the concert, noting the contrasts in quality and impact between the different pieces performed.

The image shows a newspaper clipping from the Boston Evening Globe, dated Wednesday, December 6, 1972. The article is titled "Busch-Reisinger concert: Musica Viva—striking contrasts" and is written by Michael Steinberg, the Globe Critic.

The article reviews a concert by Musica Viva, which took place at the Busch-Reisinger Museum. Steinberg highlights the contrast between two sets of pieces performed: one set written by big-name European composers (Karlheinz Stockhausen and Luciano Berio) and the other by American composers (George Edwards and Roger Reynolds).

The article describes the pieces as follows:

• "Solo" by Karlheinz Stockhausen and "Differences" by Luciano Berio.
• "Dreuz und Quer" by George Edwards and "Corridors of Dream" by Roger Reynolds.

Steinberg notes that the difference in quality between these works is stark, with the Stockhausen and Berio pieces being more complex and innovative. He mentions the precision and inventiveness of "Dreuz und Quer" and "Corridors of Dream" and contrasts them with the more traditional, yet still engaging, works of Stockhausen and Berio.

The performance included mezzo-soprano Jan Curtis, alto flute, bass clarinet, viola, cello, and harp. Curtis's performance of "Pierrot lunaire" (a work by Arnold Schoenberg) is noted for its "deliberately competitive" nature, with the musicians speaking rather than singing the lyrics.

Steinberg praises Curtis's ability to make the text clear and the music compelling, even though it is in two different languages. He also highlights the varied and intricate instrumental sounds, especially the flute and clarinet, which were played by John Heise and Andrew Lizzo, respectively.

The article concludes with Steinberg's appreciation for the concert, noting the pleasure of encountering such a wide range of musical talents and compositions.

The image is a page from the Boston Evening Globe newspaper, dated Wednesday, December 6, 1972. The headline of the article is "Busch-Reisinger concert: Musica Viva-striking contrasts" and it is written by Michael Steinberg, a Globe critic.

The article discusses a concert by Musica Viva at the Busch-Reisinger Museum. The concert featured four pieces with distinct styles and compositions, highlighting the differences in quality and style between European and American composers.

Key points in the article include:

• The contrast in quality between European and American works, specifically "Solo" by Karlheinz Stockhausen and "Differences" by Luciano Berio versus "Dreuz und Quer" by George Edwards.
• The reviewer mentions that the former pieces ("Solo" and "Differences") are more intricate and precise, while the latter ("Dreuz und Quer") is more straightforward.
• The article describes the performance of "Corridors of Dream," a work by Richard Pitman, which was a significant piece of the concert.
• It also mentions the performance of "Pierrot lunaire" and "Lyric Suite" by Berg, as well as the contributions of various musicians including John Curtis, John Heise, and others.
• The reviewer highlights the dramatic contrasts in the music, noting the different approaches to vocal and instrumental interplay, and the unique style of the soprano, Jan Curtis, who performed with sensitivity and character.
• The critic concludes by mentioning the refreshing and absorbing nature of the concert, praising the performers' ability to deliver a variety of musical experiences.

The page is also partially clipped, with some text cut out, but the main content is still legible.

The image depicts a page from a newspaper, specifically the Boston Evening Globe dated Wednesday, December 6, 1972. The article in question is titled "Busch-Reisinger concert Musica Viva-striking contrasts" and is written by Michael Steinberg, a Globe critic.

Key points from the article include:

1. Musica Viva Concert: The review discusses a concert featuring works by various composers performed by Musica Viva at the Busch-Reisinger Museum.

2. Contrast Between Pieces: The critic highlights the stark contrast in quality between two pieces, "Solo" by Karlheinz Stockhausen and "Differences" by Luciano Berio, and "Dreuz und Quer" by George Edwards, written for the ensemble.

   • Stockhausen's "Solo" and Berio's "Differences" were perceived as more traditional in their approach.
   • Edwards' "Dreuz und Quer" was noted for its innovative and experimental qualities.

3. Performances and Interpreters: The concert included performances by the soprano Joyce DiDonato, and a work commissioned for Musica Viva, "Corridors of Dream" by John Zorn, with soloists including alto flute, bass clarinet, viola, cello, and harp.

4. Performance Analysis:

   • The critic mentions the interplay between vocal and instrumental sounds, particularly in "Corridors of Dream."
   • The concert was praised for its dramatic contrasts and the skillful interpretation by performers like Jan Curtis, who interpreted the work with delicate sensitivity and clarity.

5. Richard Pittman’s Role: Richard Pittman, the Music Director of the University of Chicago Symphony Orchestra, is noted for commissioning the new work "Corridors of Dream."

The article reflects a thoughtful and detailed analysis of the concert's musical performances, showcasing the diversity and innovation within the musical repertoire presented.

The image is a scanned newspaper article from the Boston Evening Globe, dated Wednesday, December 6, 1972. The article, titled "Musica Viva—striking contrasts," is a concert review written by Michael Steinberg, the Globe's music critic.

Summary of the Article:

Concert Overview:
The article reviews a Musica Viva concert held at the Busch-Reisinger Museum. The concert featured works by different composers, showcasing a striking contrast in quality between the pieces performed.

Performers:
The performers included:

• Jan Curtis (mezzo-soprano)
• John Heiss (alto flute)
• Laura Blankenhorn (viola)
• Jay Humeston (cello)
• Adrienne Krausz (harp)

Compositions and Composers:

1. "Solo" by Karlheinz Stockhausen:

   • The earlier piece, described as anonymous and somewhat lacking in memorable qualities.

2. "Differences" by Luciano Berio:

   • Another earlier work, noted for its precision and density of invention, yet still seen as less impactful.

3. "Dreu und Quent" by George Edwards:

   • Written specifically for the performers, it was noted for its conceptual originality. The piece references works by Berio and is described as a "Pierrot lunaire" for a new generation. It involves the musicians speaking roles from Lyrics of Lyle and Lorca texts, adding a theatrical element.

4. "Corridors of Dream" by Donald Martino:

   • Commissioned by Musica Viva, this piece was the standout of the concert. Steinberg praises its sustained intensity and emotional depth. The piece is written for a quartet of alto flute, viola, cello, and harp, and is described as a significant new work lasting around 10 minutes.

Concert Experience:
The reviewer notes the striking difference between the older and newer compositions, emphasizing the freshness and innovation of the newer works. The performance of "Corridors of Dream" was particularly notable for its expressive power and the cohesive presentation by the musicians.

Critique:
Steinberg highlights the concert as a lesson in the evolution of contemporary music, praising the adventurous programming and the performers' dedication to presenting new works. The article concludes by acknowledging the achievement of the concert in showcasing modern compositions.

The image shows a newspaper clipping from the Boston Evening Globe, dated Wednesday, December 6, 1972. The article is titled "Musica Viva—striking contrasts" and is written by Michael Steinberg, the Globe Critic.

The article reviews a Musica Viva concert at the Busch-Reisinger Museum, highlighting the contrast in quality between works by well-known European composers and lesser-known American composers. The concert featured four pieces:

1. "Solo" by Karlheinz Stockhausen
2. "Differencias" by Luciano Berio
3. "Quest" by George Edwards
4. "Corridors of Dreams" by Joan Tower and John McGee

The reviewer notes the differences in the pieces, particularly the lack of substance in "Quest" and "Corridors of Dreams" compared to the precision and invention in the European works. The reviewer also mentions the dramatic discrepancies between the pieces and the help from the Goethe Institute and Musica Viva.

The article also includes a smaller inset text that provides additional context or commentary on the concert, specifically mentioning the premiere of "Corridors of Dreams" and its comparison to Debussy's "Pierrot lunaire."

The clipping is affixed to a page in a scrapbook or album, with other pages visible on the right side of the image.

The image shows an open book or binder with a newspaper clipping pasted on the right-hand page. The clipping is from the Boston Evening Globe dated Wednesday, December 6, 1972, and the article is headlined "Busch-Reisinger concert Musica Viva--striking contrasts" by Michael Steinberg, Globe Critic. The article discusses a previous night's music event, highlighting the differing quality between two pieces that were performed. The text mentions several names associated with the event and discusses aspects of the performances, pieces, and interpretations.

Specific names and works mentioned include "Schönberg" and "Křenek." In the article, there are references to musical terms and mentions of individuals by last name only ("Curtis," "Foss," "Andrews," "Blazelmann," "Vlatkovic," "Eichorn," and "Adrian Anantawan," for example), suggesting analysis of a musical performance involving these individuals.

The clipping is partially covering a page in the book with some notes on it, and there is another page peeking out from the right side, suggesting multiple clippings or documents may be present in the book. The left-hand page appears to contain a partial list, but the details are unclear. The cable binding can be seen along the left edge of the book or binder, and the worn cover hints at the age and usage of the item.

The overall impression is that this book or binder serves as a collection or scrapbook, possibly related to musical reviews or historical documentation.

The image shows a newspaper clipping from the Boston Evening Globe, dated Wednesday, December 6, 1972, on page 29. The article is titled "Busch-Reisinger concert Musica Viva—striking contrasts" and is written by Michael Steinberg, a Globe Critic. The review discusses a recent Musica Viva concert at the Busch-Reisinger Museum. It highlights the difference in quality between pieces by well-known European composers and lesser-known American composers, mentioning specific works such as "Solo" by Karlheinz Stockhausen and "Differences" by Luciano Berio, along with works performed by Musica Viva, including Joyce Mekeel's "Corridors of Dream." The article praises the interplay of vocal and instrumental sounds, the skillful performance of musicians, and the compositional richness of the Edwards piece and Stravinsky's "Epitaphium." The review reflects on the contrasts and qualities in the performance, emphasizing the artistry and unique approaches of the composers and performers. Parts of the clipping near the center and right side appear to be missing or torn.

The image shows an open book with a newspaper clipping inserted into it. The clipping is from the Boston Evening Globe and is dated December 6, 1972. The headline reads "Musica Viva--striking contrasts" and it is an article by Michael Steinberg about a concert by the Busch-Reisinger Museum. The article discusses the differences between the two quality big-name Europeans and Americans who performed at the concert.

The image shows an open book displaying a page from the Boston Evening Globe dated Wednesday, December 6, 1972. The page is numbered 29 and features an article titled "Musica Viva—striking contrasts" by Michael Steinberg, identified as a Globe Critic.

Key Details:

1. Headline and Context:

   • The headline, "Musica Viva—striking contrasts," suggests a review or critique of a concert performance by Musica Viva, a musical ensemble.
   • The article discusses a concert held at the Busch-Reisinger Museum.

2. Content Overview:

   • The article compares two contrasting pieces performed: "Soli" by Karlheinz Stockhausen and "Corridors of Dream" by George Edwards.
   • The author reflects on the differences in style, substance, and emotional impact between these works.
   • The piece "Soli" is described as having "densely woven, meticulously precise" music, while "Corridors of Dream" is noted for its dramatic and expressive qualities.

3. Musical Analysis:

   • The article delves into the technical and emotional aspects of the performances, highlighting the unique qualities of each piece.
   • It mentions the use of specific instruments (e.g., mezzo-soprano, alto flute, bass clarinet, viola, cello, and harp) and discusses the interplay between vocal and instrumental elements.
   • The author praises the performers for their skill and sensitivity, particularly noting the interpretation of texts and the emotional depth of the music.

4. Visual Layout:

   • The page features a clean, classic newspaper layout with a header that includes the publication name (Boston Evening Globe), date, and page number.
   • The article is typeset in a serif font, typical of newspaper design from the early 1970s.
   • The text is well-organized into paragraphs, with clear headings and subheadings.

5. Additional Notes:

   • The article references other works and composers, such as Arnold Schoenberg, Pierrot Lunaire, and Berg’s Lyric Suite.
   • It also touches on the broader context of contemporary music, noting the polarized reception of avant-garde works and the enduring relevance of classical compositions.

Summary:

The image depicts a newspaper article from the Boston Evening Globe reviewing a Musica Viva concert, focusing on the contrasting styles of two contemporary pieces, "Soli" and "Corridors of Dream." The article provides a detailed critique of the performances, highlighting the technical skill and emotional depth of the music and performers. The layout and design reflect the newspaper style of the early 1970s.