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...vibrato and with notesseparated by the constraints of the baroque bow,she had become unused to the Romantic way ofplaying. But the precision of the next piece, theBeethoven Septet, suited her, and all those whoperformed in it. With Arturo Delmoni on viola,Ronald Thomas as `cellist, Timothy Cob as bass,Thomas Hill as clarinet, Donald Bravo playingbassoon and Robert Rauch again on French horn, theintimacy of the ensemble prevented thesemiorchestral atmosphere of the piece, reinforcedby the setting of Sanders Theatre, fromoverwhelming its chamber aspects. The workconsists of the traditional four movementsFast-Slow-Minuet-Finale with two extra movements,a theme...

Author: By Bernadette A. Meyler, | Title: Not Even A Twist Or Turn | 10/21/1993 | See Source »

...songs messy: writing clever-odd lyrics, playing with AM radio-quality sound, or with cheap, half-broken microphones--anything that will throw their "pop" talents into sharper relief. "Marchers in Orange," on this new record, lasts about a minute and has no guitars, just an accordion and a bass: the vocal melody does all the work. "Gleaner (The Deeds of Fertile Jim)" uses a deadpan strum not unlike the one perfected by college-radio heroes Sebadoh (whose "Brand New Love" the knowing lyrics quote). "Exit Flagger" rides a pushmepullyou-like hook to the chorus, where it suddenly gains a kick...

Author: By Steve L. Burt, | Title: One Chord Wonders | 10/21/1993 | See Source »

...think it worked. But it did remind me of good old Leverett House, where, during my sophomore year, they brought in a jukebox to enhance the dining experience. I'm told that that didn't work, either.. It only made Leverettites bob their heads to the thumping bass, slaves to the rhythm, as they ate their peas and mashed potatoes. Go into Adams House, and you can assemble your salad to Marky Mark's "Good Vibrations...

Author: NO WRITER ATTRIBUTED | Title: But These Were Not Falafels | 10/14/1993 | See Source »

SMALL FACTORY I Do Not Love You CD/LP (spinArt) Small Factory are on America's longest-running sugar high. The Providence, R.I., trio used to bounce onstage with what looked like a miked acoustic guitar and an acoustic bass guitar, perfectly suited to the clean sound, rapid strum and deliberately amateurish vocal harmonies that dominate their speedy indie-pop. Alex now plays an ordinary electric bass, but the unpretentious spirit has stayed the same: "Come Back Down," or anything else from the second half of this album, will have anyone remotely tune-sensitive bobbing her head up and down...

Author: By Stephen L. Burt, | Title: Love and Misery | 10/14/1993 | See Source »

...their bad press. After the first wave of glowing articles, reporters zeroed in, sometimes unfairly, on the project's New Age roots (its "guru" was John Allen, an eccentric engineer who used to go by the name Johnny Dolphin), its commercialism (it was financed by Texas billionaire Edward Bass in part to develop marketable ecotechnology) and its scientific flaws (an advisory panel issued a report criticizing the project's scientific methods and later resigned). Ironically, some of the same researchers who ridiculed Biosphere 2 are now making the pilgrimage to Arizona to see why so much oxygen disappeared (apparently some...

Author: /time Magazine | Title: Getting Back to Earth | 10/4/1993 | See Source »

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