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...spite of these drawbacks, for the most part the material chosen was timely and effectively dramatized. The energy of the presentations seemed to infect the largely sympathetic audience. The evening's finale, which was accompanied by enthusiastic, rhythmic handclapping by the audience, was a song called "Solidarity Forever Rock," sung to the tune of the rock 'n roll song "Locomotion." It seemed to be a light-hearted self-parody of the radical leftist style. Yet troupe members assured me afterwards that they were in total earnest...

Author: By Peter Frawley, | Title: Lights, Action: The Drama of the Daily News | 3/15/1977 | See Source »

...lifestyle and strives to make art accessible. There she plans works that are on a large scale (one sculpture planned will be four stories high), but that nonetheless invite rather than repel people. Similarly, the sculptures in this exhibition manage at once to personify music with their rhythmic compositions and to feast your eyes with more substantial fare--knotty wood with the nails and lumbermarks still showing. This self-conscious structure belies the seemingly organic and hence (you might have thought) unconscious "growth" of, say, the bud-like forms at the top of La Primavera. This is a tall square...

Author: By Diana R. Laing, | Title: Allegro in Spruce | 3/10/1977 | See Source »

...surprising thing about Santana's newest release, Festival, is how little obvious mysticism it contains. It is beautifully crafted--the rough edges of early days are smoothed out--while retaining the mixture of varied rhythmic elements that made the band unique. However, the music seems just a touch self-conscious. There are the same obviously Latin numbers, from "Try a Little Harder" to "Let the Music Set You Free." There are even the old hollow lyrics: "No one said it would be easy, doing whatever you do, you just might have to suffer, but keep on moving through...

Author: By Diana R. Laing, | Title: Mardi Gras, Gurus & Dragonflies | 3/4/1977 | See Source »

Krieger interprets Play, the chamber piece, like music, setting the three characters to a metronome, and accompanying them with music. Lisa Claudy, Richard Blumenfeld, and Kate Heller speak their lines of complex rhythmic patterns with technical precision. In private existential hells, they are incapable of extinguishing their consciousnesses. "How the mind works," says the wife. "Silence and darkness were all I craved. Well, I get a certain amount of both. They being...

Author: By Christine Healey, | Title: Suggestive Emptiness | 2/26/1977 | See Source »

...performance itself, although hastily assembled, was generally competent, especially in the first performance. Despite the formidable rhythmic difficulties, ensemble entrances were crisp, and intonation was tight and controlled. With the exception of the second movement, which tended to get a bit soupy, the overall interpretation was sensitive and careful...

Author: By Jay E. Golan, | Title: Familiarity Breeds Respect | 11/24/1976 | See Source »

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