Word: chambers
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Daltrey talked of how the operas work, "We sometimes have different instruments for different people. For example we may use a flute to represent a mother and a reverberating chamber for the father." Townshend--"We are not rigid musicians. When we go to do an opera we have some idea of what the story will be but we don't restrict ourselves. We let our mood in the studio affect the way we play and therefore it affects the way the story line unfolds." Townshend has outlined a two hour rock opera and the group is eager to get back...
...SIEGFRIED IDYLL; HINDEMITH: TRAUERMUSIK (Angel). This is an intimate and unpretentious performance, largely due to the warmth that Daniel Barenboim elicits from the English Chamber Orchestra. The Siegfried Idyll sounds like what it was meant to be: a lullaby. The Schoenberg piece, one of the composer's very early works, and Hindemith's mourning music for viola and strings, have great spirit. Barenboim's first recording of modern works augurs well for the future...
...breathed on him (though a young lady should not eat, because of the known redolence of onions, onions) onions."), hyperbole ("his insides, like spoilt cats demanding milk as lava begins to engulf the town and the cats with it, complained and switched on a kind of small avant garde chamber piece for muted brass") and poetry ("Out in the gull-clawed air, New Year blue, the tide crawling creamily in, Enderby felt better.") become a tedious camouflage instead of a clear glass over the subject, the criterion of truly good style. Burgess, as defensive or more as any writer...
...want to be an artist, you have to be a prostitute," Schneider proclaims in his favorite paradoxical vein. "A prostitute is not ashamed of undressing and showing her beautiful body. An artist has to undress emotionally. The moment you fear showing yourself, stay home." He prefers the intimacy of chamber music because "it is much more personal than symphony music-you must expose more...
...these standards, last week's concert at Manhattan's Metropolitan Museum was a typical Schneider enterprise. It was part of yet another series directed by him. The program consisted of chamber works by Haydn, Mozart and Schubert, all played by Schneider and his fellow performers with much warmth, zest and perhaps a shade too much emotionalism (in Schneider's view, "Haydn was a romantic composer; Mozart too-and Bach"). The performance was unified, but each player had the freedom to express his own personality. "Homogeneity is the worst thing in music," Schneider explains...