Word: fluting
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Dates: during 2000-2009
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...great breakthroughs. Many of the pieces involved live musicians backed by electric sounds from the 32 loudspeakers that were distributed all around Paine Concert Hall. Others consisted purely of pre-recorded music. The music ranged from accessible, jazzy clarinet pieces to highly dissonant compositions for piano, flute, and four-channel tape...
...display. Bresnick also praised the “Hydra” performance system designed by the Harvard University Studio for Electroacoustic Composition, which created a dramatic and atmospheric rendition of his composition. Giving credit to flautist Patti Monson for her playing during his “Conspiracies for Solo Flute and Four ‘Other Flutes.’” Bresnick emphasized the importance of multiphonics—a novel way of playing the flute that relies on unusual fingerings and special blowing techniques—to the composition. Multiphonics are one of the many innovations that...
...appetizers such as duck tamaltio with riolla salad and pan roasted mussels with pancetta abruzzese. Tempting entrées include artisan-made fusilli pasta with fresh mozzarella, pan-roasted chicken with crispy polenta and slow roasted tomatoes, and lamb cassoulet. The authentic deserts of hazelnut mousse or a limoncello flute are the perfect ending. HUDS features limoncello flutes on alternate Tuesdays. Usual price: $45 Savings...
...evening began with Igor Stravinsky’s “Suite No. 1 for Small Orchestra,” which showcased the woodwind players at their very best. The small size of the orchestra helped build an intimate atmosphere within Paine Hall.In the first movement, a lilting flute and clarinet duet soothed away the cares of the audience, and the strings and woodwinds melded together like milk and honey.Then the woodwinds leaped into action in the second movement, though the brass players offset their energy by playing somewhat off beat.The strings delivered a dramatic performance in the third movement...
...women’s grace. The ballet “Emeralds,” staged by Heather Watts, featured the choreography of George Balanchine and solo performance of Amanda C. Lynch ’10. Lynch danced with remarkable poise, making full use of the stage as a flute and harp played in the background. The dancers’ dark green attire, provided by the Cincinnati Ballet, were reminiscent of childish Halloween costumes and left much to be desired. Still, the piece as a whole was pleasant to watch. Balanchine’s choreography made its second, less successful appearance...