Word: concert
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Dates: during 1990-1999
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...speech highlighted a weekend of activities that began Friday afternoon with a screening of the movie "Straight from the Streets" and continued with a KRS concert Friday night and panel discussions on Saturday...
...finale, Forger offered Concert Variations on the Austrian Hymn, by John Knowles Paine. Paine, whose music hall delights in its eponymity, was Professor of Music at Harvard and the author of some flamboyant organ music, including a double fugue on "America." In the piece heard Thursday, Forger delivered Paine's diverse amplifications of the original Haydn melody with sensitivity and grace and the last wriation for which Forger pulled out all the stops, was grand and moving. At least one well-known campus music figure was spotted in tears; next year Harvard will be much the worse without Forger...
Sunday afternoon, percussion virtuoso Evelyn Glennie returned to Jordan Hall for another Celebrity Series engagement. My seatmate, a percussionist herself, remarked that the concert program showed just how successful Glennie has been as a missionary for her art. Five years ago, Glennie would likely have played only the marimba in such a setting, but thanks to her growing popularity, she has been able to expand her solo repertoire to include more drum-based literature." It was truly a percussion recital as opposed to a marimba recital. This specialized repertoire develops in tandem with commissions from contemporary composers, many of whom...
...Brahms Hungarian Dances, all poured into the formal mold or a concerto movement. Glennie's arrangement of a Kevin Volans piece, "She who sleeps with a small blanket," is, in her own word, "disconcerting," scored for bongos, congas, bass drum, and marimba. Whoever "She" is, she has nightmares. The concert continued with a virtuoso marimba solo, "Velocities" by Joseph Schwantner. Schwantner, a composer-in-residence at the Eastman School of Music in Rochester, New York, has undoubtedly made a fine contribution to the contemporary marimba literature with this visionary piece, which used the entire instrument. At one point, Schwantner asks...
...name of the concert "In Close Corners" was certainly justified--the Adams Pool Theater does have a rather intimate ambiance. The dancers managed to take this all in stride, though, using the aisles and risers with remarkable grace. The music was loud and well suited to the complicated hip-hop and jazz moves that are Mainly Jazz's style. Between the charming chair-dancing routine in Salt and Pepa's "Shoop" and a seductive rendition of Janet Jackson's "Velvet Rope," there came a point in the performance where neither Salt nor Pepa nor Ms. Jackson herself could have better...