Word: harped
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Dates: during 1960-1969
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...orchestra, under Fausto Cleva, played well; everything, from harp glissandos to threatening bass growls, was audible. Even the claque sounded good from the back of the house. (The choreography for the "Dance of the Hours" was not quite up to Folies-Bergere standards, but who had come to see pirouettes...
Hark, the Harp. Chicago owes its blues eminence largely to an accident of geography. Practically alone among Northern cities, it has absorbed a steady stream of migrant Negroes from Mississippi, where a fertile folk tradition of spirituals, ballads, work songs and field hollers nourishes the blues the way the rich soil of the Delta sprouts cotton. The result is that all the Chicago blues are shot through with the raw purity of emotion, the lyricism and rhythmic subtlety of the Mississippi country style. Now a whole generation of younger performers have added technical polish and a hard driving sound that...
Typical of the new bluesmen is Mississippi-born Junior Wells, 31, who was raised in Memphis and moved to Chicago when he was twelve. As he tells it, his musical career was launched when he was arrested for stealing a $2 "harp" (harmonica) that a pawnbroker refused to sell him for $1.50; the judge listened to a sample of his playing, then gave the pawnbroker the other 50? and dismissed the case. Blues, says Junior, "gets in my whole body, my whole soul. It knocks me out. It kills me. If I couldn't do that, I wouldn...
Brutus' young page Lucius is the only character Shakespeare did not find in Plutarch, and he was invented chiefly to illustrate Brutus' considerateness of others. Fifteen-year-old Alan Howard plays him ardently and appealingly. When he falls asleep in the midst of singing and plucking his harp, Brutus affectionately covers him with a gown. When, after the battle at Philippi, Lucius is carried in, lain on the ground and tenderly shrouded in a blanket, one is more moved than by the death of any of the play's principals...
...Brutus, Tharon Musser's eerie lighting makes it quite unnecessary to add the off-stage roll on the cymbal. And must we have another crude cymbal roll when Brutus runs on his sword? As a background to the aura of death at Philippi, Susa has also introduced on the harp an ostinato pattern from the Dies irae plainchant, which recalls the identical ostinato near the end of Rachmaninoff's tone-poem Isle of the Dead. At any rate, I suspect that even Sousa would have done better than Susa