Word: rhythms
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Dates: during 1990-1999
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...which it rarely appears. This particular performance strung three of the suite's movements together and incorporated a poetic sermon by the composer's wife. Edith Batiste, into the musical table. As Mrs. Batiste declaimed her verses about the disunity of man and similar themes, the members of the rhythm section created a suitably dramatic background out of freely placed notes and rhythms. John Capello and Bruce McKinnon were exceptionally flexible in responding to the dynamic and tempo changes in the poetry and Batiste shadowed his wife elegantly on clarinet. At one point, Michael Schwartz rose from the sax section...
...ended up with a political system that chases away the statesmen and leaves only the self-serving politicians. Washington is like a circus, but instead of having white stallions that march in time to the music, there are sleek, fat seals that play their horns without rhythm and vigorously applaud at every opportunity. AL BROGDON New Britain, Connecticut Via E-mail...
From the start, abstract filmmakers sought to use light as a tool for communication without words. Color, movement, rhythm and music make up the vocabulary of these films. Though they range in length from seconds to 30 minutes, the majority of the films last five or six minutes, the perfect length for the unfolding of one chain of thought...
...electronic imagery in film. The spinning, dancing line of her "Mood Contrasts" (1953) seems to embody the music which propels it in a manner reminiscent of the pulsing equalizers which inhabit so many videos. Bute especially wanted to make music visual, to give, as she states in "Rhythm and Light," "a modern artist's impression of what goes on in the mind while listening to music." Bute's witty use of color and shape to express a trumpet's waver or a flute's dropping note make her films especially jolly...
Whether playing a finger-twisting show-stopper like Leopold Godowsky's Symphonic Metamorphosis on Themes from Johann Strauss II's "Artist's Life," or kiddin' on the keys with Gershwin's Fascinating Rhythm, or digging into one of the late Beethoven sonatas, Wild brings the same impeccable attention to structure and detail. "I spend a lot of time with these pieces," he says, "because if you don't know them thoroughly, you're just struggling like crazy to play the notes. But when you hear middle voices and the other details--when you have the tones in your head...