Word: movements
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Dates: during 2000-2009
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...Little Less Conversation,” iDance featured a consistently high standard of dancing. The most engaging pieces seemed to be those where the choreographer had a clear aesthetic vision of the dance formations from beginning to end, whereas the less memorable dances did not always effectively use movement to create a spatial narrative. Though Mainly Jazz achieved this ambitious comprehensiveness more consistently than TAPS, iDance admirably showcased the talents of both groups...
Though Bowman and Hysen are well qualified and would likely serve the students well as leaders of the 29th UC Council, their track record leaves us less confident in their ability to deliver if elected. Bowman’s past involvement with the Student Labor Action Movement has demonstrated his desire to bring about change within the Harvard community, but this work has often included polarizing activism on the behalf of workers rather than students. While Bowman might be able to serve ably as the Harvard student body’s primary advocate, we are not yet convinced...
...Though this work does not promise much in the way of dynamic variety or musical progression, Luisi did what he could with a compositionally-constrained piece. Honegger, one of six composers loosely identified as leaders of the musical avant-garde movement in the 1920s, employed languid horns and murmuring strings to capture the flavor of first light in a pastoral setting...
...slack with her delivery of Camille Saint-Saen’s popular “Piano Concerto No. 2 in G minor.” The solo piano passage that opens the piece—whose lack of a conventional orchestral prologue or a customarily slow second movement deviates significantly from the standard concerto structure—calls a Bach organ fantasy to mind. Sweeping broken arpeggios paired with a vibrant treatment of melody distinguished de la Salle’s delivery, though an enthusiastic orchestral accompaniment sometimes overpowered piano chords that were already slightly lacking in fullness...
...second movement, a humorous scherzando with embellishments crisp enough to make Mendelssohn—the master of this so-called fairy music—proud, benefited from a feathery orchestral texture and methodically precise fingerwork on de la Salle’s part. A syncopated waltz transitioned into a breakneck Presto in the third movement. Soloist and ensemble approached the closing tarantella with a startling recklessness that Luisi impressively translated into exhilaration...