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...create a memorial to William Kincaid, for 39 years first flutist of the Philadelphia Orchestra, it seemed that something more was called for. So 70 of his former pupils and friends, together with Conductors Eugene Ormandy and Leopold Stokowski, chipped in to commission a new piece for flute by an American composer. Just as there was no doubt that the man to write the piece should be Aaron Copland, so there was no doubt that the flutist to play it should be Elaine Shaffer...

Author: /time Magazine | Title: Music: Queen of the Flute | 1/1/1973 | See Source »

Shaffer had learned virtually everything she knew about the flute from Kincaid. Shortly before his death in 1967 at the age of 71, he had handed down his extraordinary platinum flute to her. She was not just the queen of the flute, but one of the world's two or three finest concert flutists, male or female. In 1971, Shaffer and Pianist Hephzibah Menuhin gave the world premiere of the new work at a benefit for Philadelphia's Settlement Music School, with Copland in attendance. Last week in New York, Shaffer recorded the work for Columbia Records, this...

Author: /time Magazine | Title: Music: Queen of the Flute | 1/1/1973 | See Source »

PART II OF The Oratorio contrasts vividly with the trumpets-and-drums splendor that precedes it. The scoring eliminates the festive instruments entirely and the accompaniments are lighter: a flute is used in two obbligato roles. The one aria had a trio-sonata texture with tenor soloist, flute, and continuo. This form was a special favorite of Bach's for which be wrote some of his best counterpoint. The simplicity and clarity of singer and flutist filled the entire church and maintained the spell throughout the aria...

Author: By Kenneth Hoffman, | Title: University Choir Sings | 12/15/1972 | See Source »

...alto with flute obbligato was sung beautifully and smoothly though with little contrast within each voice. John Ferris, the choirmaster, seems to prefer building with blocks of sound, drawing contrast from combinations of timbre rather than individual efforts within a given part. This is on excellent policy when dealing with an acoustical entity as dry as Memorial Church. In a building that holds over 1000 people and offers no echo, terraced dynamics and antiphonal contrast are the surer path to expressive variety...

Author: By Kenneth Hoffman, | Title: University Choir Sings | 12/15/1972 | See Source »

KIRKLAND HOUSE JCR: Ensemble Music for Harpsichord, Flute, Oboe and Bassoon, performed by Geraki Moshell, Barbara Jacobson, Patricia Morehead, and Ara Mackinnon...

Author: NO WRITER ATTRIBUTED | Title: Classics | 11/30/1972 | See Source »

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