Word: ravelling
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...Basque language [Sept. 6] has intrigued me ever since I heard of Maurice Ravel's pride in his ability to speak this mysterious tongue. But there now exists a work which offers an explanation of its origin that is as intriguing as the former mystery: Dravidian Origins and the West, by N. Lahovary. The author offers phonetic, lexical and morphological evidence for close links between the Basque language and Dravidian, an Indian language. He concludes that these languages are members of an ancient pre-Hamito-Semitic family whose single origin and single center of diffusion is the Near East...
Will Steven Armstrong has designed the settings so that simple maneuvering can quickly shift the locations from jungle to crossroads, from the exterior of the Coliseum to the amphi-theatre inside. And Arthur (not Artur) Rubinstein has provided clever incidental music that makes periodic and parodic references to jazz, Ravel, and Respighi...
...comeback was both massive and sudden, and it came as quite a surprise that the H.R.O. was able to perform as well as it did. A program consisting of Berlioz's Overture to "Benvenuto Cellini," Beethoven's Piano Concerto No. 1, Ravel's "Le Tombeau de Couperin," and Stravinsky's Symphony in Three Movements contains an ample selection of hexes for orchestral musicians. The Berlioz was a failure, but this shaggy, distorted reading can be set aside (though not excused). Neither the orchestra nor guest conductor John Corley was ready to bandle such a wildly gyrating piece, and with...
...second half of the program was gratifying for optimists who stayed through intermission. They heard a spicy dialogue between two great composers of the twentieth century. Le Tombeau de Couperin is Ravel's impression of the traditional dance suite, and it is neatly shaped to an ideal of grace and delicacy. Stravinsky's Symphony in Three Movements, is perhaps a suitable answer to the Ravel, built, as it is, on the idea of the anti-dance dance. It has been made into a ballet despite the fact that its tantalizing rhythms and harmonies are meant to make the listener...
Both pieces require agile playing and close attention to detail (the Stravinsky also demands strong nerves). Mr. Corley's emphasis on discipline paid off, and the orchestra was thoroughly successful on its own! Despite attacks of imprecision, the strings and winds together were able to spin out Ravel's beautiful net of sound. In the Stravinsky, the orchestra avoided most of the hazards and played most of the notes where they lay. Stravinsky did the rest...