Word: ensembleã
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Other performances, like The Drummers of the Pan-African Dance and Music Ensemble??s “Drum Call,” were directly influenced by Haitian art. In one thrilling performance, Sidi M. Camara paced back and forth across the stage while he drummed with inexhaustible charisma. The piece was a medley of vigorous Haitian rhythms, displaying the vitality of Haitian culture. While watching the performance, one got the irrepressible feeling that the energy that animates Haitian culture is still alive and well. Edwidge Danticat, as quoted by Dean Evelyn M. Hammonds, said of the Haitian people...
...coupled with evocative acoustic guitar skills. Throughout the evening, he steeped the ensemble in 1960s soul jazz chords, but here his gentle, rippling notes hit a new mode. He played with a precise poignancy, spinning out an all-encompassing sound that mesmerized by itself, but otherwise delicately underscored the ensemble??s playing. However, he never completely came into his own on other pieces, oscillating otherwise between soul jazz and more straight-ahead playing without hitting the sweet spots of either modes...
...using non-Western techniques and instruments to create music that was both captivating and unfamiliar. With irregular rhythms, a Japanese flute, and a hand drum, the ensemble seemed to conjure fantastic foreign landscapes.Christopher D. Chang ’12, a violist who performed in the concert, says that the ensemble??s style of playing was a refreshing change from the often sterile performance of Western works. “We learned by interacting and playing with each other rather than analyzing the music to death,” he says. “It was less about...
...Symphony No. 5,” a romantic classic valued for both its grand scale and its lyrical nuance. In the first movement, a muted clarinet stated a brooding motif that was to be reintroduced frequently throughout the piece. A lilting second theme showcased the ensemble??s nuanced sense of musical line, though its dynamic palette leaned to the conservative side. The high strings led the vibrant third movement waltz with a perfect dose of rhythmic momentum, propelling the orchestra into a finale whose measured, yet stirring, execution never came close to risking the melodramatic...
...coattails of one of Harvard’s longest serving music directors is a formidable challenge, to say the least, but Cortese already seems to have established a musical rapport with the orchestra—a relationship that became evident during Saturday night’s performance. Given the ensemble??s remarkable responsiveness to Cortese’s blend of unbending precision and interpretive plasticity, one can only imagine the degree of artistic cohesion HRO may realize after a few more years under Cortese’s guidance...