Word: sectioning
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Dates: during 1990-1999
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This a cappella piece consists of three different songs based on Bible texts taken from Psalms, Luke, Matthew and Deuteronomy. Each section has a distinctive feel, and in sequence they seem to trace the history of Brahms' own musical influences: From Handel and Bach in the first section to painfully beautiful dissonances in the second section, then segued into a characteristically Romantic polyphonic style for the last section...
Under the direction of Jameson Marvin, the huge chorus had a rich, full sound and excellent diction. After the especially gorgeous Amen in the last section of the piece, the chorus and conductor looked physically exhausted--as if they had poured themselves wholly into the performance...
...developed a now-familiar sweeping lyrical melody. The second movement was high-lighted by an especially fine wind chorale at the beginning. The introspective third movement of the symphony was possibly the most beautiful piece of music in the entire concert. The gorgeous theme, introduced by the cello section at the start of the movement, was then passed successively through the sections. The orchestra seemed improved from the first half of the concert; intonation problems were ironed out and their playing was much more focused and better controlled than earlier in the evening...
...landscapes, Southern Song painters, in their own particular ways, tried to prove that "less is more." Instead of the sheer density of Northern brushstrokes, we are submerged in vast areas of blank space in which islands of calligraphic brushstrokes take on the appearance of solid ground. What distinguishes this section is not only the meticulous attention it gives to the variations within the Southern Song landscape tradition but also the fact that we see this transformation through the works of its most innovative practitioners: Ma Yuan and Xia Gui, the founding fathers of the so-called Ma-Xia school...
...this pattern--outstanding works desperately seeking a coherent intellectual framework--that continues to plague the exhibition's second gallery, a tripartite cross-section of Song Dynasty (960-1279) painting. Chen Rong's Nine Dragons scroll is accorded a central place as the source of the exhibition's title. There is also an impressive series of 10 Buddhist Lohan paintings from the temple of Kaitoku-ji in Kyoto, Japan (originally shown in the MFA's first Chinese painting exhibition...