Word: brasses
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Dates: during 1990-1999
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Countless Harvard students have passed by his marker on Mass. Avenue. They pause before the face etched in brass, and the stern visage beneath the hard-hat peers back. His eyes search off into the distance, grimy and determined. Where is he looking? What is he feeling? And, for the love of Pete, just who is this John "Muggsie" Kelly that he rates his own monument on prime Harvard Square property, earning a momentary glance (if not a full-fledged stare) from thousands of pedestrians daily...
...they remembered him as a "family person, a husband, a father, and a Marine." Clearly, John Kelly made friends easily, and these friends did not wish for his name to be forgotten with the passage of time. On October 28, 1985, the three-foot high brick structure bearing his brass plate was unveiled amid a spectacular ceremony, complete with band, flag-draped platform, military color guard, and a proclamation from then-Governor Michael Dukakis. At the event, a friend of the family perfectly summed up Kelly as "a true American...
Fifty-four staff members, as well as 15work-study students, maintain close attention todetail. Maids polish brass wall fixtures in whiteruffled aprons and black uniforms, servers hoverat the elbows of the diners and groundkeepers cliphedges outside the window...
...only from an orchestra of a much larger scale. Yet, the sound of this small chamber orchestra echoed off the walls and filled the audience's ears till sound waves would spill out of the building and into the air outside. Of course, their efforts were noticeable, as the brass musicians' faces were turning bright red, sweat beads were forming on the faces of the string players, and Tipler was jumping around, leaning left, leaning right, trying to urge the orchestra on as a coach, asking for more force. Quite humorously, in the last movement's finale, a page turn...
...Helios Overture, Opus 17, led by assistant conductor Daniel Altman. HRO's command of dynamics is spectacular, and the various crescendos and decrescendos were subtle and nuanced, yet vivid and exciting as the orchestra swelled and faded dramatically. The violins shimmered over the rapid-fire rataplan of the brass as the overture progressed. Dancing staccato strings quickly relinquished prominence to legato passages for a fuller ensemble, until finally the hall exploded with a burst of trombone fanfare. A subdued orchestra, with piccolo decoration, receded once again into the portentous moodiness of the opening as gruff cellos reappeared to close...