Word: maestro
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...quite boogie time. The British rock group Emerson Lake & Palmer had not brought along a full 58-piece symphony orchestra for just another evening of chug-a-chug rock. As Maestro Salmon gave the downbeat, 9,500 fans, many reared on the violent excesses of Alice Cooper and Iggy Pop, got the first sampling of what was in store for them. From 40 huge loudspeaker enclosures suspended from the ceiling came the mighty sounds of Abaddon's Bolero, a work Composer-Pianist Keith Emerson has based on the same Spanish rhythm as the Ravel classic. After a few bars...
...Giordano Bruno barks, maestro-fashion, at the beginning of this piece, Tragedy taken too seriously becomes Farce, and forced Farce is Tragedy. Real laughter is indiscriminate in its intuitive understanding of the irrational, as well as its recognition of the ubiquity of absurdity. How then can the Lampoon take itself seriously? One might as well ask how a harpoon can harpoon itself...
...David Gilbert in the right rear corner of the stage. He was only one of four conductors at work. At times, James Chambers led the brass and some percussion, Larry Newland the clarinets, flutes and a vibraphone. When all hell broke loose-during an evocation of the Apocalypse-Supreme Maestro Pierre Boulez could be seen beating with the polyrhythmic fury of a sinner trying to drive off an army of snakes...
...AnaMaria Vera pianist, Rotterdam Philharmonic Orchestra, Edo de Waart conductor, Philips). Another up-and-coming pianist is Ana-Maria Vera of Washington, D.C. The joyous innocence with which she attacks these lighthearted concertos is at once admirable and touching. So is her sparkling technique and rapport with Maestro De Waart, the Dutchman who is succeeding Seiji Ozawa at the helm of the San Francisco Symphony. Ana-Maria, born in 1965. was eleven when this recording was made...
...became unbearable to the maestro, and in 1971 he slipped out to Sweden on a carelessly stamped exit visa. He soon signed on as general music director of the Kiel Opera, then picked up guest engagements in Europe and America. Tennstedt made his U.S. debut in December 1974, conducting the Boston Symphony in Brahms and Bruckner. The complex, granitic Eighth Symphony of Bruckner was hardly an easy choice for a newcomer, but the performance made it clear that a conductor of the first rank had arrived. The Boston had not sounded so brilliant in years. Subsequent appearances - topped...