Word: rhythmical
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Dates: during 1960-1969
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...made another, highly engaging effort to bring music closer to the people; he wrote several works for amateur performance, including The Second Hurricane, a short opera designed for high school singers. Now recorded for the first time (Columbia), Hurricane is a simple, melodic, resolutely folksy work with an exuberant rhythmic drive. Copland abandoned the role of "people's composer" when he "no longer felt the need of seeking out conscious Americanisms." In his postwar work, starting with the fine Third Symphony of 1946, he feels that he has been rediscovering the "bigger gestures" of his youth...
...artfully threaded passes to teammates to assist in another eight baskets and catapulted off the floor to grab a dozen rebounds in elbowing, hip-swinging skirmishes under the hoop. In everything he did, Robertson fascinated pro fans with the same quality that has always set him apart: a rhythmic style of play that seemed to float him around the floor...
...orchestra sounded fine in this place. The strings had considerable richness of tone and the wind section demonstrated considerable agility in tackling Debussy's tricky rhythmic figurations. The only section that suffered a bit from the non-mystical reading was the first Nuages. Here, clouds must somehow be evoked; the orchestral texture must be thick enough to mask entrances and cutoffs. If not, as happened last night, things tend to seem bleak and bit arbitrary...
Controlled Chance. The Concerto consisted of three movements, actually written down for the orchestra by different members of the ensemble and "edited" by Foss. The music was rather faceless-tricked out with a full Modern Composer's Kit of dissonances, rhythmic angularities, splashy climaxes. Against this background, Foss and the ensemble worked out their improvisations. It was in the Intermezzo, when the orchestra was silent, that Foss's technique of "controlled chance" came into fullest play. The Foss ensemble was free to improvise -and it did, with some highly interesting results. The instruments traded themes, stitched their...
...cannot quite understand the reticence of other orchestras to take up the short, light work. Everything that was first rate about the Bach Society's handling of the other pieces on the program was evident here in even greater abundance. Their marvellous tone, perfect, balance and phrasing, and rhythmic and technical assurance all gave Professor Piston reason to beam while he bowed with Mr. Lazar at the Serenata's conclusion...