Word: basses
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Dates: during 1970-1979
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Eliot House Music Society--A performance of Rossini's Petite Messe Solonnelle. With Patricia DiRe, soprano; Maria di Stefano, mezzo-soprano; J. Scott Brumit, bass; J. Stephan Reed, tenor; Gisela Krause, piano; and Wayne Schneider, harmonium...
...wood with Carlton Fisk in the backyard of his New Hampshire home? The BSO marathon, by coincidence, offers an analogous plethora of outlandish non-musical premiums for the generous and non-musical, musical and daring, non-daring and generous pledgers. Two one-hour flying lessons with Joseph Hearne, BSO bass player, for $200; chocolate rum cake baked by BSO violinist Ronan Lefkowitz '75 for $25; a doubles tennis match against violinist Sheldon Rotenburg and horn player Ralph Pottle...
...latest electronic gadgets he has formulated an album of, not rock ballads, but cosmic tone poems. Unlike his earlier albums, the focus in Low is on environment rather than melody, on synthesized effects rather than traditional rock arrangements. The recording is impressive: textures are clear and sharply defined, bass tones are rich and highs are scintillating. Sound loses itself in the infinity of space. A leap of imagination and one could be transported past the Pleiades, meditating on some barren asteroid and watching the comets streak by. The synthetic mode lends itself, as Bowie has proven in the past...
...crown prince of electronic rock plays on 7 of the 11 tracks, and collaborates with Bowie on the most successful of the instrumental pieces, "Warszawa." Using piano, mini-Moog, Chamberlain and E.M.I. (don't even ask), Eno creates a work of majesty and spirituality. Medieval in feeling, with a bass drone borrowed from Russian liturgy, it is punctuated by Bowie's decent imitation of the sharp, nasal song style of Eastern Europe. You have the sense of sunlight glowing through the windows of a cathedral; gloomy, but at the same time gloriously transcendant and essentially redemptive...
...CONTRAST, "Sound and Vision" is punctuated by a sizzle reminiscent of Bowie's disco years. Bass line, mellotron and the choral vocals are all classic components of a disco arrangement, though the sounds and inspirations seem to originate elsewhere. Bowie's mellow but beautifully articulated baritone contrasts with his high sharp "rock" voice. The cut has brief moments when the musical concept seems to jell, but ultimately there is little sense of build or progression...