Word: chambers
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Chinese and Chinese American literature (e.g. Dream of the Red Chamber, Family, The Woman Warrior) and film (Ju Dou, Eat a Bowl of Tea) are full of descriptions of situations exactly like those in The Joy Luck Club. These situations existed in history and they exist now. They are alive and well in China and they are found throughout the Chinese diaspora. I am sure that some men do not relish their positions in the hierarchy and some may have actually rebelled, but the vast majority of us stayed quiet and reaped the benefits...
From the moment that an administrative apparatchik of the Boston Chamber Music Society emerged on stage to push subscriptions on the already over-subscribed audience, it was clear that Saturday night's concert at Sanders Theatre was more an "event" than a chamber music concert. This atmosphere was only reinforced by the nature of the programming. The violinist Stephanie Chase was slated to play in each work, first Bartok's First Sonata for Violin and Piano, then the Brahms Horn Trio, and finally the Beethoven Septet. While programming for a single performer might be acceptable even in a chamber music...
...withvehement and syncopated rhythms, concealed for themost part Chase's difficulties; while hertechnique was not impeccable, it certainly farsurpassed her vibrato. In this section, though theperformers were always "with" each other, one didnot receive the impression of collaboration whichhad appeared briefly in the second movement andwhich graces the best chamber music performances.On the whole, Chase's rendition of the Sonata wascompetent but uninspired; she did not seem toderive any personal significance from the work orendow it with any of her own life story. Lee, onthe other hand, gave some indication that shecould have performed more dynamically, but was toopreoccupied with...
...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 and variations and a scherzo, interposedas an extension between the third and final ones.While all of these were played with theappropriate character and balance, the fourthmovement, featuring solos on all of theinstruments...
Though the final piece was performed much moreconvincingly than the other two, audience members,who seemed occupied more with socializing than themusic, allotted it the same three bows worth ofapplause as they had the others. Indeed, theBoston Chamber Music Society seemed to expect thatthe audience would focus on the "event" and thesoloist, and not the intricacies of ensemble andinterpretation