Word: horned
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...piece isolates colors of the orchestra, either in solo or choir, allowing for great contrasts in instrumentation and texture. The winds throughout were exceptional: the extended English horn solo of the slow second movement was technically flawless, delicate and expressive and balanced perfectly with the orchestra. The third movement, with its searing if not overbearing triangle tremolos, was carried by the performance of the timpani. When loud, as in the first and last movements, the brass was sharp and tight; when delicate, as in the opening chorale of the second movement, they showed amazing sensitivity to dynamics and melodic contour...
...Dara Horn's column appears on alternate Fridays...
...Harvard's often-dangerous-when-threatened half-students and half-teachers, I read with some interest Dara Horn's opinion piece in your Oct. 24 issue ("Becoming a Bad TF: All You Need to Know.") While Horn dutifully qualifies her negative--and, granted, not completely inaccurate--assessments of her data, the sarcasm which Horn directs against all teaching fellows as a species is often "Awk," at best, and of limited wit (i.e., "Nice Work": B+...make that a B). In fact, I wasn't quite sure what the overall point of Horn's article was, until I read Reader Representative...
...unfortunate "murder" of rhinos by orphaned elephants (and vice versa) is nothing new. The Roman naturalist Pliny observed that one of the great "antipathies of nature" exists between the rhinoceros and its natural enemy, the elephant. Pliny recounts how the rhinoceros sharpens its horn against a rock and charges the elephant full tilt, aiming "straight at the belly, which he knows to be more tender than the rest." In the 1830s, explorer James Edward Alexander described the following interaction between these two enemies: "When the elephant and the rhinoceros come together and are mutually enraged, the rhinoceros, avoiding the blow...
...baroque flute, for example, enjoyed a lovely solo and interchange with Saffer in Part I, marred only by slight stumbling in the first few bars. The instrument, though held and played like a modern flute, is of black enamel, and considerably wider in diameter. Also fascinating were the horns, ancestors to the modern French horn, which had no stops and could only be played in the primary overtone series, manipulated by the musician through aperture control alone. The trumpets, which had no stops but recorder-like openings for pitch changes, had several beautiful fanfares in the L'Allegro passages...