Word: fluting
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Khrushchev's own manners were no help. At a special performance of The Magic Flute by the Vienna State Opera, he dozed off to sleep, an amazing affront to opera-loving Viennese. And next day, when Communist-led workers in an automobile factory gave him the warmest reception of the trip, Nikita turned beaming braggart. "I am like the merchant who comes to the market with a bag full of goods," he said. "I can say to all of you: Wrap up all your goods and send them to us. We can buy all of Austria." Nikita was just...
...Haves occupy the first-flute chair of virtually every major U.S. orchestra; the Have-Nots are often unemployed. Last week Kinkaid made a televised farewell appearance with the Philadelphia Orchestra, where for almost 40 years he has been demonstrating that he plays the flute better than anybody else in the land...
Holding the $6,000 platinum flute long familiar to Philadelphia audiences, he launched into Kent Kennan's Night Soliloquy. Not even the uncertainties of TV sound could obscure Kinkaid's pure, clear and sweet tones, nor his carefully parsed phrasing. As always, Kinkaid's playing seemed effortless, as full of colors and nuances as a first-class singing voice. "No one is indispensable," said a fellow horn player at concert's end. "But Kinkaid...
...champion swimmer in Honolulu, where his Presbyterian minister father was assigned, but he gave up an athletic career for music, studied with the late great Flutist Georges Barrère. He understudied Barrère in the New York Symphony when he was only 17, graduated to the first-flute desk at the Philadelphia Orchestra when he was 27. Kinkaid's importance to the orchestra is so great that both Eugene Ormandy and his predecessor, Leopold Stokowski, refused to record flute solos without him; Stokie once had him freeze a diseased appendix long enough to sit through a recording...
...girl "like tomato sauce" (salsa del pommodore in Azzam's pidgin Italian). But the words do not matter. They merely complement the international melody, which tinkles like goat bells near the White Nile and clicks like the heels of an Andalusian gypsy. Scored by Azzam for bongos, flute, tambourine, echo chamber and his own voice, Mustapha is adapted from an Egyptian student song, but owes much of its popularity to electricity. When he plays the song at nightclub engagements or recording sessions, onetime Electrician Azzam surrounds himself on the bandstand with an impressive bank of hi-fi equipment, places...