Word: fragment
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Dates: during 1980-1989
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...piece develops, a furioso section for the ensemble is followed by electronic responses from the soloists until the entire orchestra begins to fragment, a violin jutting out here, a trombone blasting there. Répons gradually increases in rhythmic complexity as held notes in the brass arch over the busily insistent sound beneath. The impression is of the turning of a gigantic wheel in space. The piece ends quietly on a stationary but disquieted chord; rest is achieved at last, but not peace...
Perelman died two years ago, so until some biographer turns him into academic chopped liver, it is going to be hard to tell how much of the Perelman persona was Perelman himself. Until then, the only thing to go on is the 45-page autobiographical fragment "The Hindsight Saga," in the posthumous opus The Last Laugh which Perelman's publisher and executor have just produced. Concentrating on Perelman's early years in Hollywood, where he worked on the screenplays for the Marx Brother's Monkey Business and Horse Feathers and on a number of other comedies, it reveals a Perelman...
...especially in West Cambridge and in politically unpredictable Cambridgeport, Preusser has been hurt by two factors: her biggest issue, university expansion, was largely settled last summer when the city council finally adopted zoning laws to restrict the growth of tax-exempt institutions. And the plethora of women candidates will fragment the feminist vote...
...from Charles Ives, opening with a questioning overture of bold, disjunct octaves. The composer then weakens his argument with | three short character pieces | that, while agreeable, do nothing to further the work's emotional progress. The finale, however, is a heartfelt Elegia that ends with a haunting repeated fragment in the piano, dissolving in resignation and despair...
There is the overwhelming sexual frankness, and the refusal to idealize the body's postures; Rodin's poses do not belong to earlier sculpture. Then, finally, there is the fragmentation of the body itself as a sculptural object. Rodin's work was permeated by his love of Michelangelo and the expressive power of the non-finito, the sculpture as unfinished block. But his use of the "partial figure"-the headless striding man, the ecstatically capering figure of Iris, Messenger of the Gods-went beyond such conventions as the body not yet released from its mass...