Word: fluted
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Provocative Fact. The eleven played a difficult repertory that tested all their talents-the overture of Mozart's The Magic Flute. Chopin's Concerto No. 2 in F Minor, a recitative and duet for tenor and soprano from Mozart's Don Giovanni. Then, as a harrowing surprise treat, each was given the score to Tadeusz Baird's Czetry Eseje-a contemporary work none of them had seen before-and told to be on the podium in four minutes, ready to conduct. Six survived. Said Chief Judge Bernstein darkly: ''One provocative fact: there...
...lonely public house perches on a dune above the wild coast of Mayo; a flute and pipes keen an eerie obbligato to the complaining of the surf. Into the tavern stumbles a tatterdemalion lad, and to the landlord's daughter he says: "I'd trouble you for a glass of porter, woman of the house. I'm destroyed walking...
When Valenti works hard at it, the harpsichord business is terrific. He has already recorded 350 of Domenico Scarlatti's 555 sonatas, and the demand for his records has pushed him into some of the worst harpsichord music ever written: "First we did the flute and harpsichord sonatas of Bach. They went well, so we did the sonatas of Handel-which are bad Bach. They sold; so next we did the sonatas of Telemann-bad Handel. Then came the works of Frederick the Great-which are awful Telemann. We even considered the music of Frederick's sister Amelia...
...recognizable melodic motifs, and occasional rhythmic stability, gave it the clearest coherence of the three works. Even after hearing the Sonatina repeatedly on records, it is impossible to say whether the performance was good or bad; one lacks a stylistic frame of reference. Only Charles Wuorinen, piano, Harvey Sollberger, flute, and Pierre Boulez can tell...
...nine movements of Le Marteau, Boulez presents three poems through the voice (Bethany Beardslee) and comments on them instrumentally. In each of the nine movements, Boulez uses a different ensemble chosen from the voice, alto flute (Harvey Sollberger), viola (Jacob Glick), guitar (Stanley Silverman), vibraphone (Paul Price), xylophone (Raymond Desroches), and percussion (Max Neuhaus). The texture of the sound is always clear, sometimes shimmering, sometimes punctiform, and always changing. With the flexibility of tempi and timbre goes an obvious fixity of notes and rhythmic patterns; certain intervals and rhythmic groupings recur constantly. And with all this planning, with all this...