Word: glissando
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...blamed on the Business School's new auditorium--which is, after all, given the Harvard artistic milieu, a real sign of progress: no sirens, no uncontrollable drafts, moderately comfortable seats. One can readily forgive a great many performers' foibles--harsh sounds resulting from nervousness, an occasionally self-indulgent glissando, embarassing intonations in enharmonic modulations, ostentatious riccochet bowings which don't synchronize--and so on. But when the composer's written indications of expression are disregarded, and extraneous ones interpolated for the 'luscious' effect of the moment; when the long, harmonically-directed phrases so characteristic of the composer's style...
...album. After this the song dutifully falls apart, the lover, eyeless in Gaza, presumably reduced to tatters. "How Many More Times" is unduplicable for sustained, accumulating force throughout four distinct sections. Plant uses his "soaring eagle heartbroken blues" voice, bringing the song to an arresting climax with a long glissando on the word "gun," the latter instrument being both an expression of the lover's libidinal anguish and his rather desperate solution to Rosy's polygamous impertinence...
...simple instruments with a wittily languid harmonica part, punctuated by an indolent "Watch out, watch out." Their signature blend of innuendo, vaguely arrogant virtuosity, and exhilarating braggadocio return home with unexpected lightness as the harmonica quietly arrests the song with a sarcastic but still good-natured wince of a glissando. So the album which began with a laugh ends with a smile...
...lacks something of that subtle manic hysteria with which he fleshed out a man as well as a part in Scuba Duba. The acting gem of the evening is the bit part of an amorous alcoholic pickup played by Marian Mercer. Vocally, she slithers through her lines with the glissando of a soprano trombone. Her timing is perfect. She braces her body as if she could be pushed over with a swizzle stick, and she convicts the show of mere competence by her own distinction...
...contrasts--dynamic, textural, rhythmic--and the orchestra brought them out vividly and strikingly. Here the orchestra received a bit of unplanned assistance from the Cambridge Fire Department. At the end of the Third Bagatelle, the rising wail of the fire siren coincided exactly with the solo 'cello's ascending glissando. It was probably the only time 'cellist Martha Babcock smiled during a concert...