Word: diminuendoed
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...favor of microphones and amplifiers, others-Lukas Foss, Gunther Schuller and the Russian Edison Denisov-find within orchestral resources the means for flying just as high. Denisov, the first composer from the recently surfaced Russian avant-garde to find his way to records, builds his six-minute Crescendo e Diminuendo by offering the conductor a series of short, disconnected blocks of string tones that he can put together in whatever order he wishes. In his ten-minute Phorion, Foss produces an authentic and horrifying piece of camp by turning a Bach prelude inside out and scattering its bones around...
...pianists, is also remarkable for its sanity, directness and healthy emotionalism. Beyond that, he possesses an elegance of tone that is the envy of the profession. With a combination of pedal, touch and heart, he sings his way into the poetic soul of the music. He can take a diminuendo passage and without spoiling the line, make it grow progressively softer while articulating each note straight to the back row of the hall. That a piece of percussive machinery like the piano can be made to produce such distinctions in tone is nothing short of miraculous...
Milhaud conducted sitting down, but with burly authority. The score opened with a fast descending scale on the strings joined by the brassy blare of trumpets. Four stark downbeats on the kettle drums were omens of doom. Cracking fortissimos rapidly fading to a whispered diminuendo, an accumulation of dissonant agonized tones, a carefree pastoral legato phrase, and a lamenting melody on a reedy oboe vividly characterized the fateful day in Dallas and the President's oblivious ride to his death...
...unimaginative, needs an orchestra for many reasons, as the substitution of an organ, as in Sunday's performance, made painfully clear. The instrumental effects, such as pizzicato, used as a foil to the voices; the tonal texture of different groups of instruments; and the all-pervading crescendo and diminuendo which is so essential--all these are impossible for an organist...
Randall Thompson avoided the language problem in the Alleluia, as Woodworth observes in his notes, by using only the single word of the title. But he met it squarely in setting his mass to an English text, and he emerges triumphant. Except for an excessive diminuendo on "invisible," every word is perfectly set forth in the music, especially in the Gloria and the Credo, while each of the various parts is uniquely treated, the mass remains a unified and very beautiful whole...