Word: basses
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Dates: during 1970-1979
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Within the framework of this unpredictability. Beck retains one or two stylistic focal points. He is one of the few well-known rock guitarists to rely consistently on the lower registers of his guitar. "Don't Want to be Alone" another original, opened with some lower register, bass string single picking, until he found a riff that pleased him. Beck also tends to work off one riff until he tires. A large, glissando chord took the band into Dylan's "Tonight I'll be Staying Here With You." Carmine Appice's vocal was strained a bit, but the guitar work...
...group" of the Symphony No. 2 is characterized by the opposition of smooth, but eerie-sounding -atonal brass and woodwind passages, against the short, gruff phrases played by the lower strings. Throughout this section, Mr. Mehta was in complete control, especially in his precise handling of the cello and bass passages--which were, rhythmically, quite complex. Yet the orchestra's ensemble playing was perfectly clean and balanced, adding to the work's percussive quality. The solo tympani section towards the end of the piece was yet another example of precision: At times, the two tympanists, playing in unison, appeared...
...shimmering new Hoffmann that Director Tito Capobianco has conceived and staged for the New York City Opera, it is neither the tenor nor the soprano who steals the show. Instead it is the bass, who plays the four incarnations of the devil. No surprise, since the roles are sung by that master of operatic guises and disguises Norman Treigle. By design, and also by the sheer magic of Treigle's acting, this Hoffmann is a black comedy that belongs-curly locks, shtik and fiddle-to the devil...
...noticeable in the brilliantly-played trumpet parts. Richter varied his tempi quite a bit though they were generally fast by standards of only twenty years ago (such as on the Scherchen recording of 1952). Richter had the courage to vary the tempi quite a bit to his taste. The bass aria Quoniam tu solus was taken very slowly. The horn playing in the obbligato solo to this aria is the best that might ever be expected. The soloist exhibited a precision of control that allowed for the most subtle variation in tone, dynamics and attack while preserving melodic integrity. Even...
...orchestra displayed the piece to great advantage. Handel's fine sense of tone color was especially evident in the oboe parts, which were beautifully played. The first movement was lively, but Johnson's tempo in the Adagio lagged painfully, lacked phrasing, and made every step of the walking bass far too staccato...