Word: korsakoff
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...wrote Chesterton. Science makes a more severe judgment. It calls living in the present psychotic. Not happy-go-lucky, devil-may-care living in the present, but the real thing. Some individuals by reason of accident or disease (generally alcoholism) suffer from what is called Korsakoff's psychosis: they have no memory. Not that they have forgotten their ancient childhood memories. They often retain these. But they have lost entirely the capacity to establish new memories. Everything they see, everything they hear, everything they think, they forget within seconds. Introduce yourself to a Korsakoffian, leave the room, and return...
...problem of scoring for such non-instruments is something that even the great orchestrater Rimsky-Korsakoff could not have foreseen. Even Penderecki's requirements for customary instruments compelled him to devise a new written language that would convey the sounds he wanted to hear. Today, many of his notational inventions have become the accepted form for avant-garde composers. Tone clusters, for example are designated by highest and lowest notes...
...jazz); the contrast with his precise phrasing is quite effective. The other Crusaders are Wayne Henderson, trombone, Joe Sample, piano, and "Sticks" Hooper, drums. On records, they are joined by Jimmy Bond, bass, and Roy Gaines, guitar. Lookin' Ahead demonstrates the group's versatility: the tunes range from Rimsky-Korsakoff's Song of India to Felder's Big Hunk of Funk, all played with drive and feeling. The ensemble work is as good as on the Crusaders' first record, Freedom Sound (Pacific Jazz PJ-27), and the solos lack the recording-studio stiffness of that alubum...
...chorus of two hundred massed on a stage tends to be impressive, no matter what is sung. But the Moussorgsky was more than impressive; it was a triumph of high spirit and high decibels. The accompanists, playing what sounded like a two-piano arrangement of the massive Rimsky-Korsakoff orchestration, were heroic but more or less helpless: their tinkling didn't stand a chance against the full-bodied voices of the chorus. The music was sung in English; the translation, from the little I was able to hear of it, was appropriately martial. I am, I suppose, impressed...
This enthusiasm leads Poto towards programming his concerts a little too ambitiously, however. On Friday night the orchestra tackled Rimsky-Korsakoff's Scheherazade, a showpiece which demands that an orchestra be strong in all its sections; every first chair player must be a capable soloist. Although there were fine individual performances in the Harvard-Radcliffe Orchestra from Richard Bogomolny on violin, Michael Senturia on oboe, and Cynthia Deery on English horn, other sections, noticeably 'cello and French horn, were weak...