Word: pianos
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Dates: during 1990-1999
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...duet-like structure of the piece--a secretary's vision of what Schuman really wrote. The audience wanted a second encore, but perhaps deserved to be punished for such a low turnout. Boston audiences should be flocking to hear every artist in the Celebrity Series Aaron and Ann Richmond piano recitals--do not miss next year's season, which will begin around October...
...parents let their children die for want of medical care). Up until the 1960s, the accepted model of how pain worked was the one proposed by Descartes in the 17th Century. According to Descartes, a painful sensation is strictly a physical and mechanical phenomenon, as simple as pressing a piano key and getting a tone. As a result, doctors assumed a direct correlation between tissue trauma and perceived pain...
...reality, however, may be less like a piano and more like something imagined by Rube Goldberg. Especially in back problems, doctors are increasingly faced with patients experiencing excrutiating pain that has no discernable physical origins. An October article in The New Yorker by Atul Gawande detailed the story of Rowland Scott Quinlan, an architect who experienced back pain so acute that he would vomit and for whom movement was so painful that he would often soil himself instead of getting up to go to the bathroom. But X-rays, C.T. scans and myriad other tests revealed nothing that could possibly...
...piece by John Psathas called "Matre's Dance," featuring very loud, very impressive drumming, but to such an extent that the role of her accompanist, Philip Smith, was all but obviated. Glennie then played her own transcription of the Albeniz "Asturias," which did well in the transition from solo piano to solo marimba. The recitative quality of the right hand in the original blossomed in its new reverberating longevite. Glennie was especially sensitive in the subtler, quieter middle section, where she utilized different kinds of "rolls" to create beautiful textures...
...simultaneous polyrhythms, too many for the Crimson's ears-were nevertheless impressive. David Heath's "Darkness to Light," apparently a programmatic look at a bipolar emotional experience, offered a visually engaging tour of Glennie's complex stage setup, and concluded with a delicate, well-balanced duet between vibraphone and piano. Smith was a remarkably sensitive musician from start to finish...