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...holes for eyes, a curt slash of red for a mouth and cheekbones as high as the sky. Even if Martha Graham had done nothing else worth mentioning in her 96 years, she might be remembered for that face. But she also made dances to go with it--harsh, angular fantasies spun out of the strange proportions of her short-legged body and the pain and loneliness of her secret heart. If Graham ever gave birth, one critic quipped, it would be to a cube; instead, she became the mother of American dance...

Author: /time Magazine | Title: The Dancer MARTHA GRAHAM | 6/8/1998 | See Source »

...live recordings, the Rubalcaba performance, which constituted the now-established pianist's North American debut, is more immediately arresting than the other, which features the relatively subtler, more angular style of pianist Geri Allen. Allen's set features more integrated playing and arguably more depth than Rubalcaba's virtuostic display, however. In the end, both recordings prove to be quality examples of contemporary small-group jazz. They are worthwhile, though not essential, acquisitions for serious acoustic jazz fans...

Author: NO WRITER ATTRIBUTED | Title: Vivid Virtuosity: Jazzing It Up With Rubalcaba | 3/13/1998 | See Source »

...hysteria of Mahler's militaristic finale paled against one man's unearthly presence. Jacket strained across his back, he quavered with emotion, pressing his fingers to his lips to evoke a sense of the bellissimo in the Adagietto; in the frenzied phrases of the Rondo-Finale, his movements turned angular. Seemingly suspended by the strings of some otherworldly puppeteer, Gatti defied gravity as he crouched and leaned over the stands of the violins, pulling at the air and throwing his arms to the heavens with each fervent cadence...

Author: By Andrea H. Kurtz, CONTRIBUTING WRITER | Title: Devil Inside Mr. Gatti: How to Make an Audience Faint | 10/31/1997 | See Source »

...Middle Eastern lute-type instrument, is the first sound to present itself, followed by Coltrane's and bass clarinetist Eric Dolphy's repetition of a hypnotic two-note motif. In the solo section, the performance assumes the format of much of the music on this collection-dense, angular horn soloing over essentially no chord changes. Even the appreciative listener has difficulty comprehending the music upon first exposure, and judging from the scattered applause following the performance, the audience may have been baffled as well...

Author: By Abraham J. Wu, CONTRIBUTING WRITER | Title: The Jazz Fortune Coltrane Left Behind | 10/3/1997 | See Source »

...town of only 25 residents, owes something to the "spaciousness of Wyoming." Featuring an expanded percussion section, it made many rhythmic demands that the orchestra faced with mixed results. Of the piece's five themes, only two were as compelling as the other music on the program: an angular theme for strings and a long chorale that sounded best in the brass. Once again concertmaster Salley Koo was first-rate in her frequent solos, as were the winds when they inherited the string theme. Though the performance seemed shaky except for a cadenza-heightened, wonderfully careening climax, it was still...

Author: By Matthew A. Carter, | Title: HRO Tackles Challenging Program with Striking Results | 3/6/1997 | See Source »

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