Word: rhythmics
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Dates: during 1960-1969
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...resemble similar ones in the first, thereby connecting the two contrasting movements. The protracted development of this final movement is not at all a forced one, but unfortunately the performance brought it to an inconclusive ending. All the same, the three artists brought out well the work's great rhythmic activity and skillful changes in expression...
Daniel Eigerman leads the return to competence with the opening chapter of his unpublished novel, Heartboy. Eigerman writes smooth, rhythmic sentences; he had a flair for dialogue that builds his characters and has begun a tale that promises to be intriguing. Quite pleasantly, Heartboy does not smack of self-analysis; Eigerman has a story to tell and he tells it, without any unneeded verbiage or Angst...
...retrieve Ginestera, currently Argentina's leading composer, from the limbo to which serious Latin American composers are relegated. Ginestera's Quartet No. 1 (1950) attempts, according to Henri Temianka, first violinist, to evoke ancient Aztec and Incan civilizations. It combines the performance effects of Ravel and Debussy, the rhythmic drive and insistence of Bartok, and a peculiar harmonic clarity which could be interpreted as simple-mindedness. Both the first and second movements, in spite of constant, rapid, and vigorous rhythms, remain static on D. Open fifths, played tutti, reinforce the strength of the rhythms. The quartet suggests Bartok's brutality...
...brilliantly parodied by an offstage male chorus singing a salty Latin text on the mating habits of ants; acidulous Stravinskyan brasses turn up in Act III. The real wonder is that despite the borrowing Composer Ronnefeld's score has a character of its own brash, melodramatic, full of rhythmic fire...
Title role of Persephone was danced by Lithuanian Ballerina Svetlana Beriosova. heiress apparent to Margot Fonteyn as the company's prima ballerina. Actually. Persephone's "dancing" proved to be little more than occasional rhythmic movements, far less important than the recitation of Gide's text, which Beriosova accomplished in a mellifluous voice with the aid of a microphone concealed in the neckline of her dress. The ballet's best dancing parts were reserved for Pluto (Keith Rosson) and Mercury (Alexander Grant). Dancer Grant appeared nearly naked wearing white briefs and a rigid, long-bobbed gold...