Word: fluting
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Dates: during 1960-1969
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...order to understand this basic drive, it is not necessary to go back to his youth as a Russian emigre flute player educated at the Sorbonne, or to indicate that he is a stocky fellow with Napoleonic tendencies. It is only necessary to say that he is an opportunist, with an eye that sharpened slowly. He was nearly 50 when he saw his chance to be a new De Mille. He had drifted around as a salesman for M-G-M in France, a producer for Columbia Pictures in Hollywood, a photographer of art treasures in Rome, and a lecturer...
...Flute & Toy Soldiers. Next, Love battled the railroads, whose rates on coal had risen so high that coal cost 8? a ton more to haul than to mine. Consol built a 108-mile pipeline across Ohio to a Cleveland electric plant, shipped a slurry of coal and water at $1 a ton less than railroad rates. The Eastern railroads got the hint, and last March dropped their coal rates by one-third (TIME, April...
...Suite for Five Players (In Five Sections). While apparently making due obeisances to the contemporary requirement of a priori organization (the sequence of timbres and textures appeared well organized, i.e., sufficiently chaotic), Wilson actually indulged in the old-fashioned technique of wit. Conducting a very competent chamber ensemble (flute, clarinet, viola, cello, percussion), Wilson produced an observable change of tempo within the very first of the five sections: an event totally unexpected in view of the leaden, unchanging tempi of the preceding work on the program. In the succeeding movements, Wilson created intimate subensembles and experimented with their sonorities...
...second contemporary work on the program, Charles Griffes' Poem for flute and orchestra, suffers from overperformance as much as Pampeana suffers from cliches. Griffes (1884-1920), after studying piano and composition in Berlin, taught elementary music in a boy's school near New York; he could compose only during his leisure, though the rapid evolution of his oevre suggests a substantial talent, death from overwork at the age of 36 prevented him from developing a style really his own. Thus the Poem blends impressionistic vagaries, romantic rhapsodies, and mitigated marches into a staple of flautists everywhere...
Miss Karen Monson '66 played the Poem with a sweet, singing tone that remained clear, and carried through Sanders, even in the low registers of the flute. Here technique never faltered; the balance Swoboda maintained between her and the orchestra never wavered. In fact, her performance was too constant: Miss Monson never varied her tone quality or volume. By the end of the Poem, I wished for some slight distortion that would reveal excitement, some subtlety to tell of understanding...