Word: duet
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Dates: during 1950-1959
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...playing and singing in the Magnificat were generally of high quality. The vocal soloists, Lee Calder, Dorothy Crawford, Sarah Jane Smith, Thomas Beveridge, and Karl Sorensen all gave musicianly readings of the arias, duet, and trio. At times there was not sufficient balance between soloist and orchestra, as often the result of too soft singing as too loud playing. Dorothy Crawford, in particular, could not seem to muster enough volume. There were also instances of imbalance between chorus and orchestra, caused mainly by the great army of tenors and basses that filled the stage...
...together. He believes that the present methods of fitting dance to music or music to dance, or combining the two by a rough collaboration between composer and choreographer, often produce conflicting feeling between movement and melody. A year or so ago Laderman tried to solve the problem in his Duet for Flute and Dancer by writing the dancer's part into his score as though the dancer were another musical instrument...
...night composing. As he wrote, he began to visualize dance images. Rather than lose them, he improvised dance notations above the musical staff to correspond with the flute solo. Next morning he found that the notations accurately recalled the dance images. He took the score, now titled Duet for Flute and Dancer, to Dancer-Choreographer Jean Erdman, asked that she choreograph...
...concerned by the emotional restrictions placed on her work. At the first rehearsal she read the annotated dance score aloud (da-da-da-da, da-di-da-di) to see how its rhythms keyed with those of the flute. Then she translated the rhythms into movements. The completed Duet, premiered last year, was an elegant, admirably contained piece. Last week's far more complex work, also choreographed by Jean Erdman, was a wittily detailed examination of the love life of a voraciously modern woman and a hesitantly questing male. Leading Dancers Erdman and Donald McKayle defined the amorous counterpoint...
...single, balanced movement in C-sharp. Solidly constructed, it had many varied sonorities and not a few Bartokian turns. I was a bit disturbed by the unrelievedly grim and anguished cerebration that the music betrays. I also question the wisdom of starting a quartet with such a lengthy duet for violin and 'cello (which almost guarantees that the flute, being cold, will enter out of tune) and of inserting such a long piano solo in the middle: both the players and the audience will feel cheated. I must single out Lawrence Lesser for his masterly handling of the 'cello part...