Word: bassoons
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Dates: during 1990-1999
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Kids today have scant time for such indulgences. Saddled with an out-of-school curriculum chock-full of Taekwondo lessons, ceramics workshops and bassoon practice, America's youngsters barely have time to check their e-mail before hunkering down with homework. On the whole, U.S. students come home with more schoolwork than ever before--and at a younger age. According to researchers at the University of Michigan, 6-to-9-year-olds in 1981 spent 44 min. a week on homework; in 1997 they did more than two hours' worth. The amount of time that 9-to-11-year-olds...
...After hearing the tape and reading the score, Allanbrook Jr. became convinced, that "it was a good piece and meant to be preformed." Ethan Frome is hardly a simple musical undertaking, demanding not only a well-appointed string section, but also a full brass section, concert bassoon, bass clarinet. English horn and piccolo. After informing his father of his production plans, Allanbrook Jr. spent 12-hour days throughout the summer entering the score into the computer program Finale in order to produce the orchestral parts...
Paris' Theatre des Champs-Elysees, on May 29, 1913, was the setting of the most notorious event in the musical history of this century--the world premiere of The Rite of Spring. Trouble began with the playing of the first notes, in the ultrahigh register of the bassoon, as the renowned composer Camille Saint-Saens conspicuously walked out, complaining loudly of the misuse of the instrument. Soon other protests became so loud that the dancers could barely hear their cues. Fights broke out in the audience. Thus Modernism arrived in music, its calling card delivered by the 30-year...
...actually written by Haydn or by his student Ignaz Pleyel. Regardless of the nature of his piece's thematic roots, Brahms effectively unearthed a simple, hymn-like melody and molded it into an intricately layered set of variations. Even if the talents of the oboe, clarinet, flute and bassoon players did receive the spotlight in most of the theme's airy permutations, the constant alteration of the string players' style-from pizzicato to spiccato to longer, lyrical bowstrokes--carried the listener through the eight variations and finale, all executed with swift precision under Silverstein's direction...
...twelve variations featured one part of the orchestra as a soloist in this creative piece, such as a powerfully emotional viola solo by Sarah Darling `01, vibrant with chords and trills that built up tension. More solos came along throughout variations including a morning song by the oboe and bassoon, while the noticeable act of taking off the string mutes presented a disturbing trumpet and trombone variation, and led off to others such as the solo violinist, hornists and the return of the cello and harp. A lively end with a piccolo solo created a warlike effect with the bows...