Word: flute
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Dates: during 1960-1969
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Misfires on the Floor. Mrs. Child now lives in Cambridge, Mass., and her TV program is taped in the display kitchen of a local electric company, where she puts in about 19 hours of preparation for each half-hour show. If she is going to flute a mushroom on the air, she has to flute one in rehearsal too. For dishes that take time, she cooks to various stages beforehand, so that she can compress an entire process of, say, four hours, into 30 minutes. By the end of a show about the preparation of one duck, for example, there...
Musicians are a favorite motif. Her "Music Makers" shows a bald, pensive man resting his head on his hands and facing a woman, apparently depressed, who plays a flute. In the background, a girl with an expression of acute misery on her face plays another flute and a second girl stands with her hand covering her lower face. As in most of the paintings, reds and oranges abound and pale but acid greens and yellows dominate the faces. The group may very well be a family...
Occasionally the background verticals swirl to reinforce the contours of a figure or group, as in the "Music Makers" and the "Musicians," a variation on the same theme. Four figures, two of them flute players, appear again in the "Musicians," but his time all of them are women. Blue becomes the major color. The desperation has disappeared; a sense of calm prevails...
...soloist, he chose indifferent tempi for every movement. He took the second, for example, too slow for bounce and too fast for grace; the music just ambled along like an elephant. He also failed to provide variety in the orchestral dynamics to compensate for the restricted possibilities of the flute; most of the time, the notes did not seem to flow in any direction. Only in the fifth movement did the waters of dullness recede and a differentiated musical landscape rise. Thereafter the waters refluxed...
...musical theater, shouted denials of the primacy of voice in opera, manifestoes in defense of drama. His idea of song is "communication heightened and intensified," and he demands that singers produce it as if they were inventing both words and melody in dramatic conversation. His production of The Magic Flute is the current classic, and no opera house can respectably ignore the standard that Felsenstein set with his Traviata, Bartered Bride, Otello and Tales of Hoffmann...