Word: piano
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Dates: during 1960-1969
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Understatement was the dominant note of the violin and piano recital presented by Tison Street and Tonu Kalam Tuesday night at Quincy House. Street's mellow tone, meticulous phrasing, and polished technique served as a transparent medium for the expression of every nuance of the music; Tonu Kalam's accompaniment was equally controlled, if the least bit more rodust. As a combination, they were nearly flawless, freely molding the music into the shape they desired without intruding between the music and the audience...
...opening movement of J.S. Bach's Sonata No.5 was reposed and meditative. Kalam used the lyrical possibilities of the piano to spin out long, smooth lines. Street's approach was even more subdued; his tone was always sweet-sometimes almost ethereal...
...problems the Glee Club encountered in Carter's Emblems were more the fault of the compose than of the performers. Carter takes a perverse delight in setting words in unnatural ways, distorting normal word and sentence rhythms. The music itself, after a pedantic first section, gets underway with a piano interlude introducing the second, the builds to an exciting climax in the third and final section. The performance followed the same patter; the first part, although competent, was somewhat static, but the rest was magnificent...
...tsung was a venerated musician in China and the composer of some 24 works for the violin, piano and orchestra, including a propagandistic Longing for Home that became the signature tune for the regular Red broadcasts beamed at Taiwan. He was at peace with the Red regime until last June, when he and some 500 other cultural leaders were caught in the net of "thought reform," as part of the Great Proletarian Cultural Revolution. Chinese army officers forced Ma and his colleagues to clean toilets and break stones in the morning, study the thoughts of Mao Tse-tung and write...
...section outsparkled the others, it was "Rubies," in which Balanchine teamed with the composer who has inspired some of his finest ballets, Igor Stravinsky. For Stravinsky's spare, syncopated Capriccio for Piano and Orchestra, Balanchine created lively, Broadway-flavored footwork. In the hot atmosphere of scarlet costumes and lighting, his dancers bobbed, swiveled and stretched in patterns of perky wit and sexy grace. Patricia Neary clowned elegantly, and Edward Villella and Patricia McBride drew cheers for the jazz joie de vivre with which they bounded through their intricate roles...