Word: rhythmic
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...orchestra gave its guest soloist full support throughout. Except for some bad moments at the violin entrance, resulting from the fast tempo taken in the ritornello, Poto followed the soloist with amazing precision. While the orchestra did not play with as much expressiveness, rhythmic drive, and intensity as it might have, it at least supplied vigor and accuracy. The winds lapsed into insecure entrances and poor intonation at the beginning of the second movement, but their solos were generally good, especially those of oboist Michael Palmer. Miss Martzy received an immediate standing ovation at the end--a rare event...
...52nd Street's sagging strip joints, Toshiko Akiyoshi demonstrates that she need not rely on costume for her success. Her own songs-Between Me and Myself, Kyo-Shu (Nostalgia), Blues for Toshiko-come out with a wide, swinging, masculine beat that reminds some listeners of Bud Powell; the rhythmic ideas spin out loose-linked and limber, hazed with a nostalgic mist as delicate as watered silk. It is clearly some of the best jazz piano around...
Musical high point of the evening: Bartok's Violin Concerto, with Yehudi Menuhin as soloist. The orchestra played with parade-drilled smoothness and reflex-sharp rhythmic feel. Said Menuhin afterwards: "It's the first time I ever played the whole concerto straight through at rehearsal without stopping and explaining. This music is in their blood; it's like American children dancing rock 'n' roll...
...shows just how far he has gone with tonal-row composition. A 20-minute work, it is scored for "twelve dancers and twelve notes," calls for the largest orchestra since Stravinsky's Symphony in Three Movements (1945). The fast, heavily percussioned score is cast in patterns of enormous rhythmic complexity. In its sheer harmonic and rhythmic invention, its virility, its brilliance of orchestration, the work is among the most dazzling music Stravinsky has ever written. It has some of the down-to-earth excitement of The Rite of Spring, the buoyancy of The Wedding. It proves once again...
...artistic progress. The catalyst that changed Mondrian was his discovery of cubism. (He simplified not only his style but also his name-from Mondriaan.) While he had previously drawn trees that were obviously trees, he now produced the segmented Apple Tree in Bloom (see color page), a lyric, rhythmic design of orchestrated nuances and subtle harmonies. Even more dramatic evidence of his progression lies in his rare self-portraits: in 1900 he saw himself as a religion-seeker, with deep, glowing eyes (a pose that later so distressed him that he threatened to destroy the work with an automatic pistol...