Word: instrument
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Dates: during 1980-1989
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...viola, and later scored the keyboard part for string orchestra. A Musical Heritage recording of the flute-and-organ option features Jean-Pierre Rampal and Marie-Claire Alain. But the flute cannot execute the double stops and many other subtleties possible on the viola d'amore, a little-used instrument with more strings than the normal viola. In this piece Martin fused serial and tonal procedures skillfully, and Thompson's interpretation particularly emphasizes the work's pain...
Richard Burton's voice is one of the great wind instruments of the English-speaking stage. Unfortunately, in Camelot, that instrument seems to be just about all he has left to play on or with. To indicate that Burton is trifling with his formidable dramatic talents is to make an ancillary point, since the show itself leads a charmed life. Camelot opened to an unparalleled $3 million advance sale in 1960 on the assumption that after My Fair Lady, Lerner and Loewe were not men but gods. After John F. Kennedy's assassination, the show became a myth...
...doppelgänger who never seemed to leave the rehearsal hall, reflectively pushing his horn-rims up over white hair and grilling the young violinists who passed before him: "Who did you study with? Why did you choose that piece? Can you explain why you are holding the instrument that way? Up, up! Higher!"? Or the virtuoso who appeared onstage with the Orchestre National de France and the Nouvel Orchestre Philharmonique, the rosette of the Légion d'Honneur pinned in his lapel, and tossed off the feat of playing 15 major works, from Mozart to Samuel Barber...
...that looks like an ice floe along which curtains have somehow been hung). In the end he walks slowly into a void. She is left, head bowed, her hand cupping her chin. Both dancers give bold performances. One expects Von Aroldingen to be Balanchine's perfectly tuned instrument. Lüders, an elusive and sometimes awkward presence, has his best role...
...space. These columns and stacks of boxes, with their carefully orchestrated suggestions of altarpiece, shrine, cave and iconostasis, suggest how far her desire for an environmental art has transcended decoration. The sculpture does not merely sit on the wall; it appropriates the whole surface, making the room itself an instrument of reverie. Spotlights play on the graphite-black surface of the sculptures, carving patch within darker patch of shadow until the inner forms of the wall are drowned in obscurity and only the faintest rustle of black under black suggests their presence...