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With nary an indication of a downbeat from Gatti, the lower strings slid into the haunting opening strains of Schubert's Unfinished Symphony, displaying a rhythmic alliance so perfectly refined that it truly seemed as if only one instrument were present. The placement of the cellos between the second violins and the violas allowed for a heightened clarity, producing a concentrated, almost sinewy tone that typified the Allegro Moderato. The first movement elapsed without any fiery outbursts; Gatti instead focused intently upon the lyric strains of the oboe and clarinet. His conducting was comprised of a fairly conventional fluidity...

Author: By Andrea H. Kurtz, CONTRIBUTING WRITER | Title: Devil Inside Mr. Gatti: How to Make an Audience Faint | 10/31/1997 | See Source »

...first two movements are dark and nightmarish. Moments of lightness only parody true happiness, and do little to dispel the deep anxiety that pervades this entire section. Strong rhythmic chords in the second movement must almost certainly have influenced Gustav Holst's "Mars" in the Planets suite...

Author: By Jamie L. Jones, CRIMSON STAFF WRITER | Title: Taking the Cynicism out of Symphony | 10/10/1997 | See Source »

Having a substitute drummer didn't at all detract from the performance the band gave: guitarist Todd Mund evoked a sonic spectrum ranging from airy melody lines to bone-crunching chords with his red Les Paul; bassist Nedich aggressively propelled many of the tunes with unrelentingly rhythmic bass lines; and Deal leavened the raw power of her vocals with sensitivity. Her muscular voice never strained, and she displayed impressive range and intonation. At times she could be sweet and velvety. Then she would let loose from the diaphragm and sing a chorus with no mercy. Such was the case with...

Author: By John T. Reuland, CONTRIBUTING WRITER | Title: The New Deal: From Riches to Rags | 10/10/1997 | See Source »

...truthfully the pit orchestra that will not stay put, The Klezmer Conservatory Band. This eight-piece ensemble grounds an over-the-top and shaky production on a solid yet raucous foundation. Providing more than enough energy to keep the musical moving while simultaneously sparking the audience into fervent rhythmic clapping, the Conservatory Band is the only element in the production which is successfully (and brilliantly) larger-than-life. Even taking time to march around and across the stage, the virtuosos never come off as contrived or absurd; they are the pulsing blood in an otherwise plastic production...

Author: By Luke Z. Fenchel, CRIMSON STAFF WRITER | Title: Clarinets Captivate but No Surprises From Silly Shlemiel | 9/19/1997 | See Source »

...doffs his jacket, grins and launches into a children's song: "If you're happy and you know it, clap your hands! If you're happy and you know it, clap your hands!" The lawyers, scientists, activists and students in the auditorium, after a moment of bewilderment, burst into rhythmic applause...

Author: /time Magazine | Title: WE CAN SIT HERE BEMOANING BEAVIS AND BUTT-HEAD OR WE CAN LEARN FROM THEIR APPEAL. | 6/9/1997 | See Source »

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