Word: concert
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Dates: during 1990-1999
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...between, the show was impressive: liverock in the afternoon could've been awkward, butShellac's energy and enthusiasm (for the music, ifnot the crowd) carried the day. Unfortunately, asthe concert wore on, I remembered why I didn'thaul out the ol' Shellac LP that often; theirsongs are too long on record, and played live,they often stretched out to unfortunate lengths.Too, the songs tend to be remarkably similar toone another, especially when they're all reallyloud. Shellac played for about an hour and a half;I was bored silly by the end, but I'd gotten myfive bucks worth. Shellac...
...people of Boston, unfortunately, did not turn out in droves to see James Galway, perhaps the most well-known classical flautist of our time, perform an all-Baroque concert on Sunday afternoon with some of his longtime collaborators: harpsichordist Phillip Moll '66, violist Sarah Cunningham, baroque violinist Monica Huggett, and flautist Jeanne Galway, James Galway's wife. There were many empty seats at Symphony Hall, and at the beginning of the concert Galway apologized to the audience for keeping it in on such a beautiful day. He and his friends then proceeded to give a concert that was as wonderful...
...unique feature of Galway's concerts is the introduction he makes before each piece he performs. These are usually humorous bits giving a brief history of the work. Examples include the tale of the Emperor and flute addict Frederick the Great and his teacher Quantz, which introduced the Bach Sonata in E major for Flute and Basso Continuo, (BWV 1035) and the dangerous nature of dancing in the baroque period, which introduced Couperin's La Pie'montoise. According to Galway, one wrong movement of the finger could cause a person to literally lose his or her head. These comic lectures...
...encores were an almost ghostlike reminder of the pleasures of the concert. First was a small technical piece for two flutes in E minor by a composer whose name seems to be Schulz, performed by the Galways. It was a fluttering piece that showed the Galways' ability to twitter adorably on their flutes at nearly the speed of sound. For the last encore--a repetition of one of the movements from the last work--Galway insisted that the audience close its eyes for the final farewell. As the musicians played the work almost inaudibly, the concert seemed to be fading...
...illustrate this bad planning, Eddie related a story about the September 1997 grand opening of NJPAC. On duty that night, he watched as a crowd of elegantly dressed concert-goers with $1,000 tickets waited to cross the street and enter the Center. From out of the night appeared a shuffling group of homeless men who walked up and stood silently behind them. The out-of-towners in tuxedos and evening gowns shifted uncomfortably and looked imploringly at Eddie and the other police officers to intervene, but the police did nothing. As the walk sign blinked on, both groups stepped...