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Even the orchestra exceeded the usual standard for student performances. There was, as always, some slackness of tempo and wobbling in the strings and horns; but over the long and difficult haul, the orchestra only improved. Only rarely, as at the end of Act II, did it drown out the singers...

Author: By Adam Kirsch, | Title: Dunster Triumphs in Marriage of Figaro | 2/15/1996 | See Source »

However, Harvard made up for their poor shooting by playing strong fundamental basketball defensively and controlling the tempo of the game...

Author: By Connor Schell, | Title: Harvard Nips New Hampshire, 66-61 | 2/1/1996 | See Source »

...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 and played keening half-bent notes, breathy whispers and other soulful sounds on his alto. This solo moment lent a new degree of subtlely-pitched emotion to the reading...

Author: By Eric D. Plaks, | Title: Alvin Batiste: Joining the Jazz Band On an Exotic Journey | 12/14/1995 | See Source »

...work also manifests those qualities which make so much post-war music difficult for the untrained ear: irregular tempo, unresolved chords and absence of melody. These qualities were less in evidence in the sonata than in the String Quartet #1, a work which even the composer describes as "grim and terse." The quartet begins with a mysterious Gypsy-like phrase, which is quickly flattened into harshness; the four instruments repeatedly diverge and then return with a burst of two or three dissonant notes. While the quartet is affecting and succeeds in communicating a certain nervous emotion, it is far from...

Author: By Adam Kirsch, | Title: New Music Raises Old Questions | 12/7/1995 | See Source »

...second set, however, Redman turned up the heat for the Sanders audience. With the support of his excellent rhythm section, Redman's composition, "Lyric," became a tour de force. The long, exotic ballad gradually increased in intensity and tempo until Redman gave the cue for a frenzied modal cycle which provided the framework for his most convincing playing of the evening. Finally, the patented falsetto shrieks had found an appropriate setting. The solo by pianist Peter Martin was one of many mesmerizing offerings by this quintessentially capable sideman...

Author: By Eric D. Plaks, | Title: Redman Quartet Concert 'A Trip' | 11/9/1995 | See Source »

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