Word: plies
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Dates: during 1970-1979
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...program has won the endorsement of doctors, physical therapists and the American Cancer Society. But its strongest supporters are its direct beneficiaries. The women, all between the ages of 32 and 64, meet for an hour and a half each week in Welch's airy studio to practice pliés and ronds de jambe, and to share their experiences...
...will ask someone for fun. Or Foreman may test a visitor by asking him to recite the Lord's Prayer. Ali may soon lose his claim to being No. 1 in fast footwork. Last winter, when Foreman was living in Los Angeles, he studied ballet. Though he demonstrates pliés only when photographers' backs are turned, Foreman says, "I took up ballet after seeing a dance show in Las Vegas. You know, I enjoyed it. I didn't think I'd like the sissy stuff, but I really had fun. When this fight is over...
...Boulez chooses to encounter -and upon their ability to communicate, musically and verbally, with their audiences. Boulez has so far made it clear that he is unlikely to schedule his own music. Still, the complexity and climate of "Prospective Encounters" may be safely forecast by listening to PH Scion Pli, a Boulez composition just released by Columbia Records...
...Pli Selon Pli-meaning "fold along the fold"-is based on three poems by Mallarme and was begun in the late 1950s. With piano, guitar and mandolin, it also enlists a soprano soloist and a full orchestra, runs 60 minutes, and is easily Boulez's most ambitious composition to date, outstripping even his 1955 Le Marteait sans Maitre. Severely serial, the work begins with a crash and a delicate wash of impressionism, a mixture of Debussy and Webern. Much of it glitters with the percussive polka-dotting of pointillism; all of it is abstract, moving in tiers of timbres...
...innovations like these, says Boulez, that make him still contemporary today. Boulez should know. As a leading avant-garde composer himself (Pli selon pli), he is the outstanding exponent of Debussyean principles. "My performances of Debussy are not just historical reconsiderations," he says. "The only masterpieces that are vital today are the ones we can take a modern point of view about. Who can tell you about the reality of Debussy at the turn of the century? Nobody...