Word: defectiveness
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...spirited, well-played finale. But the rest of it, and Corelli's "Christmas" Concerto, which opened the concert sounded as if the orchestra were merely going through the motions. The intonation was unaccountably bad, the playing colorless, and the ensemble work in the winds unusually slipshod. The most noticeable defect was the strings' inability to play piano with any tone at all but a rather lifeless one, lacking intensity and variety...
...selection printed in the Advocate has the virtue of containing ideas, both explicit, as the narrator is intelligent and articulate, and, we may infer, implicit, as Robinson can control the relationship between the reader and the narrator. Unfortunately, a defect of the "excerpt from a novel" as a literary form is here evident; the figure of the narrator can only begin to emerge. The reader finishes wanting to see more and unable to find it in print...
...most unfortunate aspect of this performance, however, comes by way of comparison with last year's squad. The 1957 58 sextet also suffered considerably from this defect, but it was filled with such a number of scoring individualists, such as Bobby Cleary, Lyle Guttu, and Bob McVey, that the Crimson could afford to botch a few--or even a good many--scoring chances...
Marius Constant is a fast-rising 33-year-old Parisian composer with a peculiar aural defect: he can never listen to a single instrument without mentally hearing all the instruments of the orchestra. This gets so bad, he complains, that "even when I play the piano all by myself, I hear strings and trombones, trumpets and percussion.'' Not long ago Composer Constant also found himself hearing tom-toms, marimbas, vibraphone and celesta. He committed these exotic cerebral sounds to paper, and last week a Parisian audience jammed into the Theatre des Champs-Elysées to hear...
...also, in a sense, his defect as a dramatist. Since his audience can hardly sympathize with the most basic assumptions of his characters, the intensity of its reaction tends not to be proportional to the intensity of the emotions exposed onstage. For Deathwatch is really far out. Though such a dense, rich play does not easily lend itself to interpretive summary, it appears that Genet has attempted nothing less than a study of the metaphysics of evil...