Word: flute
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Dates: during 1950-1959
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...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...
...Full of Flute. Composer Laderman stumbled onto his technique one night after hearing a flutist friend give a fine recital. Laderman returned home so "full of flute" that he sat up all 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...
...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...
...first movement from Behrman's Quartet for Piano and Woodwinds (1957) betrayed a fondness for the high pinched notes of the flute. The composer can learn from this the ease with which the bottom half of the flute range can be smothered by other instruments. Structurally, the piece was too episodic, with many stops and starts, and it ended rather unconvincingly. More variety of articulation would have helped, too: it was almost all brittle staccato, with no really lyrical phrases...
...instrumentalists were all of a high caliber. Flutist Karl Kraber exhibited a lovely dark tone in Bach's Sonata No. 2. He also kept his volume down so that the right hand of the piano, which is equal to the flute in trio sonata style, could be heard. In Bach's Second Violin Sonata Michael Day played with admirable musicianship; Bertram Baldwin accompanied at the harpsichord. Violinist David Hurwitz closed his part of the concert with a fine performance of Handel's Sonata in F. He played with restraint and a warm tone, and was ably assisted by Jonathan Thackeray...