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...among them, rather than above." Most conductors give the beat with the right hand and use the left for expression. Not Fleisher. He sometimes swung both arms up, fists closed. He often seemed to be playing an imaginary piano, both hands thrusting forward as if striking a two-hand chord. At a private seminar a few weeks ago, Conductor Morton Gould asked Fleisher to beat time with his right hand, and then asked him to pretend that he was playing the piano. "You're ten times as expressive the second way," was Gould's advice...

Author: /time Magazine | Title: Music: Kindling a New Flame | 9/7/1970 | See Source »

...young, Tommy strikes a responsive chord not as a living musical drama but as a hopeful sign that pop forms like rock may have the vocabulary and expressive scope to deal with important subjects on a broad symphonic and operatic range. Every troubled society or social group needs its own encouraging myths and fables. From that point of view, for the rock world Tommy is at least a start...

Author: /time Magazine | Title: Music: At the Where? | 6/22/1970 | See Source »

...score, fired a popgun, they played on unblinking. Meanwhile, platformed six feet above the orchestra, the Mothers were lullabying away at some of their "greatest hits," like Lumpy Gravy, Duke of Prunes and Who Needs the Peace Corps. Then, everyone in the orchestra suddenly screamed, one final frightening chord was heard, and with a giant blurp 200 Motels closed down for the night...

Author: /time Magazine | Title: Music: Hit It, Zubin | 6/1/1970 | See Source »

...case of GM, only this stockholders' challenge can strike a chord of response in the company that for three years has continually opposed and delayed public efforts to make cars safer and healthier...

Author: By Scorr W. Jacobs, | Title: The Endowment What's Good for GM | 3/17/1970 | See Source »

From the first chord of "Jemima Surrender" to the last note of "Slippin" and Slidin it was as though The Band derived a peculiar pleasure from the very act of being on stage, playing their music. There was Richard Manuel, head turned away from the piano, eyes closed, his melodic voice drifting into the microphone. There was Levon Helm on drums, delivering the amazingly steady, but unobtrusive, beat that drives The Band. His eyes, too. were closed his head turned to the microphone. There was Rick Danko playing his archaic Fender Precision bass. But, oh, how he played...

Author: By Robert Decherd, | Title: Concerts The Band at Boston College last Saturday | 2/27/1970 | See Source »

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