Word: soloed
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Dates: during 1990-1999
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...former Beatle isn't the only rock musician currently trying his hand at classical composition--Billy Joel announced in September that his plans include not only working on Broadway but also composing Rachmaninoff-like solo piano pieces--but Sir Paul sweeps the table when it comes to sheer audaciousness. McCartney, who cannot read music and readily confesses to having attended only a handful of classical concerts, has been no less forthright in acknowledging the extensive role played by four "musical associates." Jazz musician Steve Lodder and classical composer David Matthews transcribed and edited his original computerized keyboard noodlings; classical saxophonist...
...audience members, so that any tentative entrances seem that much muddier. In general, though, the concerto was quite solid. Concertmaster Mike Hsu '97 in particular gave a lovely performance in the second movement which was excerpted from Bach's Sonata in G major BWV 1021, written for solo violin and harpsichord--the latter ably played by Albert...
...Although few bands could pull off a lead female singing duo, Rogers and Denike stregthen each other to create a brightly bold melodic complement, serving to gloss over the girls' disenchanted lyrical matter in a joyful purge. It almost seems, though, that if they were separated to perform as solo voices for more than their accustomed short sonic soliloquies, their individual efforts would eventually sound deflated and anything but resilient...
...with the word "viola" exceeds the maximum number of items the system can display. Certainly this seems an injustice. The only excuse is the youth of the marimba, first manufactured in its modern form in 1910. The viola, comparatively, seems to have been around forever. Mary E. Kissel's solo marimba recital, heralded as the first solo marimba recital ever given in Adams House, managed to succeed in making a contemporary instrument, and contemporary music, both fascinating and accessible...
Given the general indifference to new music, and the unlikely case that anyone might be familiar with the repertoire of solo marimba works, the circumstances of such a concert are daunting. Public appeal for such an occasion would seem at best very small. What was it then that brought almost 100 people into a crowded Adams House LCR last Friday evening? What was it that made new music what it should be: vital, ecstatic...