Word: jazzes
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Dates: during 1960-1969
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...members of his-orchestra, and to give complete credit one would have to name nearly every individual performer. It was an evening of soloists, especially in the much reduced ensembles of the Stravinsky and Milhaud. Violinist Tison Street and flutist Geoffrey Greenfield were outstanding in the Stranvinsky. The jazz-like Creation featured sensitive solos from 'cellist Philip Moss and saxophonist Hardin Matthews, as well as some sultry low-register flutter-tonguing by the two flutists. Oboists George Donner's Gershwin-like plaints creation actually predates Rhapsody in Blue and American in Paris and high-register melody lines were models...
...catches have been fashioned into jazz pieces and film scores (Woman in the Dunes), but it is his avant-garde compositions that have made Takemitsu, at 37, Japan's leading exponent of a new, totally modern yet distinctly native musical style. He scored R I N G, a plaintive, murmuring piece for flute, lute and guitar, not with notes but with a diagram of a circle containing directional signals for time, dynamics and pitch. In Corona for Strings, he achieved wispy as well as grating effects by directing the instrumentalists to improvise on the basis of colored plastic disks...
Schuller is also an energetic teacher, lecturer and writer; next April, Oxford University Press will publish the first of two volumes on the history and musical form of jazz. Already a widely played orchestral composer and an innovator of the "third stream" blend between jazz and classical techniques, he has accepted 23 commissions for new works, five of them operas...
Gunther Schuller's Five Bagatelles, sandwiched as they were between two chestnuts, could not help but be a musical gourmet's delight. Written in a disjunct, motivic style that borrows almost as much from jazz as from serial technique, they presented problems of cohesion and continuity similar to those of the Dallapiccola 'Cello Concerto performed by the HRO last spring. This time, however, the orchestra succeeded. Rather than struggling frantically through the notes, the players were in sufficient control of the music to interpret it and make it come alive...
...than the craft of show biz s the art of the popular song. Over the years, she has learned the arcane alchemy through which a tune can be transformed by its treatment. When her warm, smoky voice curls languidly around a lyric or teases it along with up-tempo jazz phrasing, familiar material reveals unsuspected meanings and yields new freshets of feeling. "There are always deeper layers to discover in a song," she says. "That's why I'm never bored." Neither are her listeners...