Word: flutists
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Dates: during 1970-1979
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...Good Boy Deserves Favour (1977), a 70-minute theater piece for actors and orchestra. Stoppard enlivened his schematic political lesson with wit, and so, at times, does Fellini. In the film's first half, a visiting TV documentary team interviews the musicians and gets a lively response. A flutist turns a cartwheel. A drummer attacks the piano as a "chatterbox." An insomniac trumpeter confides that with his instrument, "a clinker is death." Once anarchy takes hold, however, the idiosyncratic individuals are drowned out by the director's spectacle...
...some from hundreds of miles away. Only the tuba (ten) and the harp (20) drew fewer than 50 people. In all the studios the air was thick with concentration. Oboist Ralph Gomberg counseled one jittery student: "You don't hear the notes if you play it too fast." Flutist Senwick Smith used one phrase in a piece called The Flute of Pan to try to loose some spontaneity in his cautious players. "Do you know who Pan is?" he asked. They did not; he explained...
...Flutist Stephanie Jutt--Jordan Hall...
Scott-Heron and Jackson form a partnership in revolutionizing jazz through perceptual lyrics. Sometimes you may already know the subject and they just relay their opinion. In this partnership, Scott-Heron is more of the lyricist, undeniably an extension of his earlier days as a poet. Jackson, a brilliant flutist, drummer and piano man writes the melody for much of Scott-Heron's news. On the premise that two gifted artists should not be limited in the use of their talent, Scott-Heron and Jackson switch roles, double up and occasionally insert a third party for their creations...
...outset of the show, a flutist, cellist and lutanist take their place in a far corner of the hall. They provide the accompaniment for two unspecified songs, followed by a dance (choreographed by Graciela Daniele) in which the white-masked members of the court all participate. We seem to be watching a traditional Twelfth Night masque. And all this preliminary music gives added point to the play's opening lines, in which Duke Orsino refers to the "excess" of music, to a "dying fall" (which is accurately fitted to a descending cadence), and finally requests a halt...