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...were sold in the U.S. alone-player pianos could not only play loud and soft by themselves but could reproduce every nuance of shading and expression of a Paderewski or a Gershwin (both of whom sat down at a special recording piano and cut rolls on the Duo-Art label...

Author: /time Magazine | Title: Recreation: No Hands | 6/22/1962 | See Source »

Despite the commitment to improvisation, both Cage and Christian Wolff do limit the performer's freedom. In his Atlas Eclipticalis Cage lays out alternative paths between groups of notes whose duration and number, though not order, are specified; Wolff, in his Duo for piano and violin, details no paths but indicates specific cues to follow. The performers did not display any of the intense fascination or variation of common patterns which mark jazz and are essential to improvisation in general. Even if the performance of the Cage piece had been good--and it certainly was not--no compelling seriousness would...

Author: By William A. Weber, | Title: Laugh or Listen? | 2/16/1962 | See Source »

...that the works had no appeal. In the Atlas contact microphones mounted on each instrument added an ominous depth to the sound: melody leaped tantalizingly among sharp, bare rad, violin, generated an awesome tension when notes and percussive punctuation until engulfed by electronic bellowings. A fine performance of the Duo by Wolff at the piano and Anthony Condelicate stabs of sound and momentary eruptions broke the frequent stretches of silence. The style grasped my attention because its bareness provoked a wary expectancy of what would be thrust out next...

Author: By William A. Weber, | Title: Laugh or Listen? | 2/16/1962 | See Source »

...starter, Mozart's Duo for Violin and Viola in G (K. 423) makes nearly equal demands on violinist and violist, and regrettably the two performers were not equally up to them. Roy Sonne, violin, delivered a strong, clear line, which became tiresome only when it remained a strong, clear line throughout most of the three movements. But by playing double stops out of tune, occasionally missing entrances that should have been carefully timed, and rushing sustained notes, Joan Renne (violist) vitiated much of Sonne's power...

Author: By Joel E. Cohen, | Title: Mt. Auburn String Quartet | 2/5/1962 | See Source »

...product. Hillel and Aviva play the drum and flute (recorder) in a concert on Elektra records which is a very fine introduction to the genre of composed folk songs. (The Dudaim (whose name comes from doo- dah which is added a Hebrew suffix indicating more-than-one) are a duo, and they sing of Israel" on a Columbia recording. There are a great many other recordings of Israeli folk music; I mention two which do not include songs well-known to certain of us (such as "Hava Negila," which is now making a hit as a rock 'n' roll tune...

Author: By Merry W. Maisel, | Title: New Trends In Folk Music | 12/15/1961 | See Source »

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