Word: music
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Dates: during 1960-1969
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...well-smashed plate expressed approval of the local bouzouki music as well as the manly exuberance of the thrower-presumably well-fueled on ouzo, the potent, anise-flavored Greek liqueur. Performers measured their success by the depth of the debris around their feet. Taverna owners loved it, since they were able to pay their bands by selling crockery to customers for up to a dollar a plate. In recent months, however, good times à la grecque were getting wilder than ever: bored with just breaking things-and perhaps bored, too, by the puritanical reign of Greece's military junta...
Harlem's overwhelming musical impact on the jazz age is conveyed by a room where pictures of Duke Ellington, Fletcher Henderson and Bessie Smith are flashed onto eight screens, while loudspeakers boom their music...
...Concerto in D Major, which Serkin was to play with the Philadelphians in Manhattan's Philharmonic Hall the following evening. Could Johansen fill in? Johansen has never even heard the piece, a little-known transcription by Beethoven of his only violin concerto. He dashes next door to the music library, glances at the score, agrees to do it. What he does not know is that twelve other pianists have already declined...
...wrote Ralph Waldo Emerson in 1841. And so believes American Composer Earle Brown, 42, whose music bears an unmistakable relationship to the plastic arts. Brown's work owes a debt to the mobile sculpture of Alexander Calder and the abstract expressionist painting of Jackson Pollock. His scores are graphic in their detail and precision, but he believes in a certain improvisation or mobility within a performance itself. Therein lies the influence of Calder, whose mobiles are made of 15 to 20 parts moving freely in space and changing their relationships with one another from minute to minute. Pollock...
Broken Glass. Brown favors what he calls "open form" music. Last week he displayed his style at a concert at Baltimore's Peabody Conservatory of Music. One of the works on the program, Available Forms I, which is scored for 18 wind, string and percussion players, is a Calderian example of what Brown calls "conceptual mobility." Each of its six pages contains five musical "events," which the instrumentalists play on specific orders from the conductor. In front of the podium is a numbered board with a sliding red arrow; the conductor moves the arrow to give the page...