Word: duet
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...action is the point of the film. Even the most human moment the purely aesthetic understanding reached between Drew and a malformed hillbilly boy by playing a wild duet between guitar and banjo pulls its meaning out of moving fingers, Drew's smiles and grimaces and the boy's seeming impassivity the growing comprehension of the onlookers faces. And when we start to go downriver. Boorman's eye guiding Vilmos Szigmond's camera picks up the release of a smooth-skimming canoe when it catches the current, the disruptive churn of a sudden patch of rapids, the collected stillness...
Considering the difficulty of the Stravinsky Symphony in Three Movements, the Cantabrigia brought it off quite well. There were some glorious moments--such as the tricky and very exposed bassoon duet played by Gregory Rewoldt (who was noticeably outstanding all evening) and colleague Winifred Ramsey; likewise, the trombones were often exceptional. But, as throughout the program, I felt that things could have been much more exciting. As is so often the case, with a bit more attention to dynamics, rhythm and clarity on the part of both players and conductor, what was overall a commendable concert might have been outstanding...
...much as Argent's rely on organ and piano. "Tragedy", opens with a good soul band guitar lick, that becomes the basis of the tune. Rod Argent's role on this one is to build the total sound with his full-bodied chords, and to play a smoothly-phrased duet with Ballard during the break. The transitions between chorus bridge and break are smooth--repeated listening shows this to be one of the band's strong points. Though Ballard doesn't play a solo here, he gets by with some nice chorzs over a syncopated bass and drum lick...
...Manon Lescaut, ask each other Tu, tu amore? Tu?, and answer in the way every Puccini fan dreams of hearing but rarely does. Awesome is the word for Birgit Nilsson's portrayal of Salome's final 14 minutes on earth. As for the Act I love duet from Otello, Soprano Teresa Zylis-Gara sings with disciplined creaminess, but Tenor Franco Corelli, alas, gulps phrases and swallows words as if he were drowning in the music rather than singing...
...most unusual pieces were the Davies In Nomines. They ranged from the most conservative (scarcely discernible from Purcell's style) to the far more exotic. The fifth one was a screeching duet of violin and clarinet whose tessitura was in no way balanced by the later addition of piccolo. The players maintained a remarkable faithfulness to pitch, extremely difficult in view of the ranges they were forced into. The fourth In Nomine was a beautiful Debussy-like flute and harp duet over viola and cello accompaniment...