Word: harpsichords
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Like her previous work, the piano plays an integral role in Amos' arrangements. A difference is the increased use of the harpsichord, reflecting her classical training as a child. The harpsichord appears in the first single from the album, "Caught a Lite Sneeze," but is used to even greater effect in tracks like "Blood Roses," "Professional Widow," or "Talula," which apparently will be the next single to be released from Boys for Pele...
...mirrored the tempo of the movie: slow, almost turgid. Like Elmer Bernstein, who enlivened the ponderous exodus of the Israelites in Cecil B. DeMille's The 10 Commandments with quick, sprightly march music, Goldenthal sought to spice up Jordan's dour vision of vampirism with a sprinkle of harpsichord here, a dash of rock there. "The performances were very slow and metered," he says. "Brad Pitt's delivery was whispery. What the music needed was horseplay, fire; I took any chance I had to get quick music in there to get people's blood moving...
...inception, the first movement takes the form of a large crescendo made of several building sequences. Each sequence in this Animato, ma serioso begins thinly and eventually stops, giving way to another one with a greater endpoint. The music itself shimmers and sparkles with the addition of a harpsichord and celeste, though its edges are not completely smooth...
...avid proponent of new music, Fisk brought works ranging from Scarlatti to Rochberg to his program. In doing so, he demonstrated the guitar's unique position as a middle ground between the harpsichord and the violin; the guitar's strings are plucked like the harpsichord's, but it has a fingerboard like a violin. As a result, classical guitarists can create a wide variety of effects culled from the repertoires of both instruments...
...Scarlatti keyboard sonatas (in D Major, G Major, E minor and A Major), Fisk's concentration on the fingerboard and frets never lapsed. He did take some liberty with the first two sonatas by allowing for dynamic contrasts and a ringing bass line that would be impossible on a harpsichord. Fisk might have expanded these liberties to include a thinning of the sonatas' ornamentation, whose technical difficulty sometimes weighed down his otherwise ebullient accounts. In the E minor sonata, Fisk allowed himself to be tossed easily between its simple lines with more delicacy than one would expect from a harpsichord...