Word: appoggiatura
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...recordings were made between 1932 and 1935, at the height of Schnabel's interpretive powers. Probity is the operative word here; the German notion of ''depth'' had no greater exponent than Schnabel. (A footnote in Schnabel's sonata edition could ramble for several inches discussing the difference between an appoggiatura and a semiquaver.) Yes, some of the runs in the ''Emperor'' are a bit mussy, but the pianist's earnest approach is informed by a proprietary affection for music. Schnabel's Beethoven doesn't smile very much, but then icons never do. + Beethoven: Piano Concerto No. 5 (''Emperor''). Claudio Arrau...
...What’s the deepest lake in the world? Tony D. Qian ’08: “This would just be a guess...maybe the Dead Sea. That’s a guess, it’s probably wrong.” 3. Can you spell appoggiatura, the 2005 Scripps National Spelling Bee’s winning word? Rocksheng Zhong ’08: “A-P-O-G-I-T-O-R-A.” 4. Which of the following is most closely related to a whale? 1) manatee; 2) mouse...
...hardy band of performers is answering yes. Last week in Los Angeles, Les Fetes d'Hebe was given a glowing new production that reveled in each melodic appoggiatura and terpsichorean temps de courante. Directed by Roland Jullien and featuring Conductor James Richman's Concert Royal, an original instrument ensemble, and Choreographers Catherine Turocy and Ann Jacoby's New York Baroque Dance Company, the production pointed up an important trend in music today. Since the turn of the century, there has been a steady march toward authenticity in musical perform-ance. Now the search for verisimilitude is being extended to stage...
...Saens, Debussy, Ravel. Guided by electric impulses from a collection of unique piano rolls, Vorsetzer's sensitive fingers produced all the notes with ghostly perfection, just as the turn-of-the-century masters had played them 50 years be fore. But this time, tape recorders took in every appoggiatura so that the antique treasures could be preserved in high-quality stereo recordings...
Enriched by such experimentation, the true spirit of jazz still belongs to its players, not to composers who study the form at the distance of a good conservatory. Leonard Bernstein has captured the sound of its blue notes-the appoggiatura tones that mimic the human voice in lament-and others have used its reiterated play-song melodies. But even among jazzmen, the only composer who has consistently written good jazz for orchestral players without merely repeating George Gershwin is Duke Ellington, and Ellington's "classical jazz" swings only because it is safe, sensual music. "We're going...