Word: duos
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Dates: during 1950-1959
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Even in this comparatively minor work, Mozart exhibits his uncanny scoring ability. The instrumentation is perfectly suited to the music, and no other combination seems possible. Such is not the case with the other duo work on the program, Martinu's Three Madrigals. This is good, strong stuff, but has little instrumental logic. Of course, not all local color is eliminated, and there are several very impressive effects: the viola is often used as a percussive instrument, and the skilful utilization of mutes gives an eerie flavor to the second madrigal. But nearly always, another instrument would have been equally...
...heights of whimsy. ("My dear," coss Gilbert to his wife, "how does it feel to be married to a transcendent genius?") Beginning with their Trial By Jury success and ending with Gilbert's elevation to knighthood after Sullivan's death, the film neatly skirts the high points of the duo's joint career. Instead, it brings to bear the full force of superficial analysis on the dissension that had them taking bows from opposite sides of the stage. Gilliat and Bailey astutely conclude that the famous carpet dispute was only symptomatic of deeper trouble. Instead, they put the blame...
...been made so often, it is curious that Hollywood cannot at least make it well. The long pearl-fishing flashback puts a potbelly on the middle of the film that never wears off. Actor Granger, admirably suited to British drawing-room movies, is badly miscast. And the derring-duo, Taylor and Actress Blyth, seem, in their big storm scene, while all the screen rocks wildly, as beautiful, as smilingly unperturbed and as lifeless as a manikin couple in a sporting-goods-store window...
...doubles the Crimson's number one team of Ufford and Art French beat the all-freshman duo of Thompson and Tom Bradford, 6-2, 6-4. The rest was all North Carolina...
Davison, who is doing graduate work in the Harvard music department, warmed up with the Preclude from Bach's Fourth English Suite-a routine piece, mechanically played. After a pleasant set of Variations by Buxtehude, Davison Joined with violinist Paul Revitt to play Schubert's Duo Sonata, (op.162). Despite the high opus number, it is a product of Schubert's youth, full of happy tunes and harmonic surprises. But Revitt's thievish tone and generally erratic technique made thorough enjoyment of the price difficult. Three Brahms Intermezzi followed, all of them receiving broad, well-molded performances...