Word: clarinet
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Dates: during 1960-1969
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...bush-bearded man, he stands on the bandstand, his trumpet like a toy kazoo in one hamlike hand. With his other hand, he sketches out a casual beat. Then he may break into a surprisingly agile buck and wing and lead his combo (trombone, clarinet, drums, bass, piano, trumpet) into a searing chorus of Down by the Riverside. Snarling, growling, shivering into a remarkably clean vibrato or soaring through long, liquid phrases, the trumpet slices through the group's sound like a blade...
...When Beethoven wrote his piano sonatas, he anticipated the Steinway piano." Certainly the public still seems to appreciate the human touch. The biggest personal hit at Venice was U.S. Composer William Smith, a member of the original Dave Brubeck Octet. While his eight-minute electronic Improvisation, replete with amplified clarinet key clicks, breath noises, and echo chamber effects, boomed over the loudspeakers, Clarinetist Smith stood by improvising. For the only time in the entire congress, the audience was moved to applause...
Lester Trimble: Four Fragments from the Caunterbury Tales (Adele Addison, soprano; Robert Conant, harpsichord; Charles Russo, clarinet; Martin Orenstein. flute; Columbia). A remarkably effective evocation of Chaucerian moods in a score that is clear, nimble and rhythmically sensitive to the text. U.S. Composer Trimble, 37. with admirable help from Soprano Addison. musically meditates on the characters of the Knight, the Squire, and that lover of both "bigamye" and "octogamye." the Wife of Bath...
TWENTIETH CENTURY CHAMBER AND VOCAL MUSIC. The Adams House Music Society will sponsor a concert of works by Schoenberg, Berg, Webern, Ives, Ruggles and Varese. The performers: Dorothy Crawford, soprano; Bentley Layton '63, baritone; Cynthia Carpenter, flute; Jean Louis Bourgeois '63, clarinet; Gregory Biss '64, piano; and Bruce Archibald, piano. Junior Common Room; 4:30 P.M. Free, and open to the public...
...those of the demonic Fritz Reiner). If the symphony as a whole seemed to lack a unity of dramatic conception--only the final allegro was convincingly cohesive--individual sections of it were performed with real distinction. The faultless intonation of the orchestra's winds (the first desk flute and clarinet merit special attention), the resounding firmness of the brasses--all these are easily the equal of almost any professional orchestra. The strings were perhaps too eager to glow wtih romantic intensity, or what-ever; at any rate their tone was often thin, harsh, and somewhat forced. This did not, however...