Word: music
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Dates: during 1960-1969
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ALBERT AYLER, NEW GRASS (impulse!). Alto Saxophonist Ayler uses a gospel-rock background and a group called The Soul Singers to help him get a mystical word across: "The music I bring to you is of a different dimension in my life, the message one of spiritual love, peace and understanding." The tension of his wavering whines and reedy growls is somewhat dispelled by the propelling, regular beat, making such tunes as New Generation and Everybody's Movin' an oddly felicitous blend of spiritual and material...
...even incantations. In The Creator Has a Master Plan, sensuous, mesmerizing sounds roll over repeated phrases, curling peaceably upward like incense. In Colors, Pharoah's tenor saxophone begins a tempest of cries and emphatic screeches that hint at lurking discord in the universe. The harmonious moments of his music, though, far outnumber the discomforting ones, and suggest a passionate belief in man's perfectibility...
PEOPLE MEET AND SWEET MUSIC FILLS THE HEART. There is welcome relief in this bizarre Danish film satirizing all that explicit cinematic sexuality...
Boulez, who spent four weeks guest-conducting the orchestra this spring, will take over the Philharmonic in the fall of 1971 for three years. It should be a lively reign. An enfant terrible of French music during his younger days, Boulez is capable of fighting desperately for what he believes in-primarily, Boulez's own precise brand of serialism, Webern, and the two most important "traditionalists" in his life, Stravinsky and Debussy. His own music (notably Eclat, Le Marteau sans Maitre, fresh, glittering, mobile works filled with a constant sense of surprise that belies their tight structure) reflects...
...evening-long interpretation of Pushkin's intensely romantic verse-drama Eugene Onegin. Two nights later, the company presented an even more stunning tour deforce, a balletic version of Shakespeare's Taming of the Shrew. Both were lavishly mounted, eye-filling pieces. Onegin uses a score by Music Director Kurt-Heinz Stolze based on short pieces by Tchaikovsky. The work moves quickly and assuredly through Pushkin's tale of romance and betrayal, never assuming the luxury of a dance-for-dance's-sake diversion, bending every movement toward dramatic ends. Shrew, with music by Domenico Scarlatti arranged...