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Bach: Six Trio Sonatas for Flute and Harpsichord--Superflute Jean-Pierre Rampal races through these show-pieces faster than a speeding bullet, with more emphasis on the virtuoso than the music. But my, how he dazzles...

Author: By Ed Cray, | Title: Classics in Capsule | 11/18/1980 | See Source »

...underappreciated Martin is represented by his Sonata da Chiesa (1938) for viola d'amore and organ. The composer authorized the use of a flute instead of viola, and later scored the keyboard part for string orchestra. A Musical Heritage recording of the flute-and-organ option features Jean-Pierre Rampal and Marie-Claire Alain. But the flute cannot execute the double stops and many other subtleties possible on the viola d'amore, a little-used instrument with more strings than the normal viola. In this piece Martin fused serial and tonal procedures skillfully, and Thompson's interpretation particularly emphasizes...

Author: By Caldwell Titcomb, | Title: Black String Musicians: Ascending the Scale | 8/1/1980 | See Source »

...bleakness over a wet and shivering audience. The sky matches Beckett's play in its inability to illumine. The stage slipped between Mather House's cement blocks stands bare of even the smallest of miracles. No leaves flutter on the lone tree that cowers behind a tiny desert. A flute echoes as the only sign of regeneration when the moon disappears...

Author: By James L. Cott, | Title: L' Absurdite, C'est Moi | 5/1/1980 | See Source »

...pompous, as many conductors are," Sally Rubin '83, who performed a flute solo in the concert, said yesterday. She added that he was very demanding and had high standards, but that he was also patient with the non-professional musicians...

Author: By William F. Powers, | Title: Visiting Conductor Leads HRO In Premiere of Schubert Piece | 4/28/1980 | See Source »

...humor from the play even as he is interpreting it in an essentially solemn way. We expect the rustics and their "Pyramus and Thisbe" to be a comic staple, and certainly John Bottoms's eponymous, stage-struck Bottom, Jeremy Geidt's paternal, befuddled Quince, Max Wright's scallion-chomping Flute and their cohorts dig up laughs you'd only guessed at, reading the play. But the young lovers, too, keep their scenes from bogging down into indistinguishable, interchangeable laments: Sloan's strong-willed and-armed Helena gets a hapless Demetrius into a half-nelson, and literally dogs his path with...

Author: By Scott A. Rosenberg, | Title: Out of Discord, Concord | 3/31/1980 | See Source »

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