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This fall, Riegel will be a featured voice and soloist in the upcoming Dreamworks animated release "Prince of Egypt." She plays Young Miriam in the film, the childhood version of Sandra Bullock's character...

Author: By William P. Bohlen, CRIMSON STAFF WRITER | Title: Behind The Scenes With The Yard's Latest Child Star | 10/2/1998 | See Source »

WYNTON MARSALIS (1961- ) A master soloist and bandleader and a Pulitzer prizewinning composer, Marsalis has championed Neo-Traditionalism. Committed to the belief that the style created in the years between Armstrong and Davis is America's true classical music, he cofounded Jazz at Lincoln Center. His seminal album, Standard Time, Vol. 1 (1987), treats works by Ellington and Parker with passionate devotion...

Author: /time Magazine | Title: Cool Cats, Hot Music And All That's Jazz | 6/8/1998 | See Source »

Gill also managed to find a niche as a soloist in the Glee Club, the editor of the Student Progressive, the head of the Liberal Union and a member of Phi Beta Kappa junior year...

Author: By Andrew K. Mandel, CRIMSON STAFF WRITER | Title: Touching Basses: The Extraordinary Lives of Richard T. Gill | 6/1/1998 | See Source »

However, the night was only a third over. The orchestra, seemingly nervous for the Variaciones Concertantes by Alberto Ginastera returned for this piece that treated different parts of the orchestra as soloists. A cello and harp started the piece, Tipler not even lifting his conducting stick for this performance. A surreal beginning with the resonance of the chords, this duet between the two instruments was a mysterious love song, only to be interrupted by a loud explosion from cello soloist Chris Thornton `01 that cunningly brought in the rest of the orchestra...

Author: By Sue Y. Chi, CRIMSON STAFF WRITER | Title: Safety in Numbers? Not for an Adept BSO | 3/20/1998 | See Source »

Each of the twelve variations featured one part of the orchestra as a soloist in this creative piece, such as a powerfully emotional viola solo by Sarah Darling `01, vibrant with chords and trills that built up tension. More solos came along throughout variations including a morning song by the oboe and bassoon, while the noticeable act of taking off the string mutes presented a disturbing trumpet and trombone variation, and led off to others such as the solo violinist, hornists and the return of the cello and harp. A lively end with a piccolo solo created a warlike effect...

Author: By Sue Y. Chi, CRIMSON STAFF WRITER | Title: Safety in Numbers? Not for an Adept BSO | 3/20/1998 | See Source »

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