Word: harped
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Died. Marcel Grandjany, 83, French-born harpist and professor at the Juilliard School of Music; in Manhattan. Grandjany's gifts as performer and composer helped raise the harp from a musical decoration to a full-fledged solo instrument. Among his compositions: The Colorado Trail, Children's Hour, and Fantasy for Harp...
...there is no known coat of arms for a family, Halbert's will create one using heraldic symbols that suggest the family's country of origin. Italian-sounding names, for example, might be represented by a cross, French by a fleur de lis, and Irish by a harp. Boasts Halbert's president, Dennis Haslinger: "We use everything from lions rampant to eagles fessant." If the customer likes the design, he can order more expensive models, including a $350 deluxe version called "Cathedral Oak" that consists of a 22-in.-high coat of arms mounted on a hand...
...performance powerfully led by Schippers. When Mussorgsky used just two clarinets and two bassoons to accompany the troubled Boris, he had a somber, dry, psychologically adroit sound in mind that was infinitely more effective than the 60 or so strings and winds Rimsky thought sounded better. Mussorgsky used the harp only once -for the lush, quite beautiful scene between the Pretender Dimitri and the Polish princess Marina in Act II. It is a precise effect completely destroyed by Rimsky's use of the harp throughout the opera...
...Back Door Angels" is a well-arranged piece featuring the impressive electric guitar work of Martin Barre interspersed with melodious embellishments like harp glissandos and synthesizer frivolities. While Barre's guitar predominates throughout, it is especially interesting during his solo, which contains three strains, each of which ends with a rather long hold and then gives way to a variation on the preceding strain. The effect is a dynamic one in that just as one expects the composition to end, it returns, invigorated...
Mozart put some of the lost irony back into the music, and it could be argued--although perhaps not too convincingly--that having just the music makes some of the ironies clearer. There are beautifully ambiguous moments like the quiet, harp-like string passage-a rebuke to the Count, a relief to the Countess--when Susanna comes out of the closet in the second-act finale. And director Earl Kim's simple conducting and quiet, steady beat make it easier to see why the citizens of Prague, wiser than the Vienna court which accorded Figaro only a moderate success, adapted...