Word: rhythmical
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Dates: during 1960-1969
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...cellist performed rather well. Unfortunately the violinist was sadly out of tune. The biggest single complaint I would register against the performance was lack of ensemble. Notes must not only be played in sequence linearly but the parts must line up vertically as well. The rhythmic impression stole the vitality from a piece already somewhat lacking in rhythmic interest...
...this month a show of contemporary art interrupts the rhythmic silence of art history. Like the curious summer visitor, a current exhibition of works by graduate students at the Boston Museum School appears out of place. Without the approval bestowed by time, they are foreigners. Boldly, they ask the viewer to look. They call for attention...
...wrestle, do gymnastics, shinny up and down the swing ropes, and hang by their heels from the top of the stage. Some of them make rhythms with a tambourine, rattle, triangle, maracus, and a pair of claves. Eventually there are some two dozen young people, and a crescendo of rhythmic pounding sounds as though we are soon to witness a gang "rumble" from West Side Story. Finally they lie on their backs, kicking their feet in the air and hissing. And the Prologue is delivered by several individuals, the group periodically interjecting its first phrase, "O for a Muse...
...rock groups today, the Creedence Clearwater Revival is not much interested in talking up a revolution. Its four clean-cut, plaid-shirted members prefer to sing songs about where they came from and about problems among people, not social movements. As performers, they come on with a simple, bluesy, rhythmic, straight-ahead sound. That's not bad. San Francisco-based Creedence is riding the crest of today's strongest pop wave-blues-oriented rock. The group's first single, Susie Q., rose to No. 11 on the Billboard charts last fall. Proud Mary...
...lack of experience in the bread-and-butter area of any symphony orchestra's life: the 19th century repertory. By and large he made his conducting reputation on no more than half a dozen works-notably Stravinsky's Le Sacre du Printemps, to which he brings astonishing rhythmic control and a primitive passion for the work's savage shafts of power. He does not much care for Brahms, Tchaikovsky, or Bruckner, but his conducting of Beethoven, Mozart and Haydn has been superb in its structural logic. During his Philharmonic stay, he attracted a younger, more intellectual audience...