Word: tonalism
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...pitch of an ordinary organ-pipe or electronic-is immensely difficult to change, touring orchestras never bring along "organ works. But Carnegie's new Rodgers can be tuned from 435 to 445, or anywhere in between, with the turn of a single knob. Says Rodgers Co.'s tonal director, Allan Van Zoeren: "In this case, one pitch is worth a lot more than 1,000 words...
Earlier in this century, composers rarely featured the cello, considering it a lowly second cousin to the violin. Artists like Pablo Casals, Gregor Piatigorsky, Mstislav Rostropovich and Starker revealed the silken tonal beauty of the instrument. Still, the repertory remains narrow. Starker speculates that this Brahms sonata, written in the year of the composer's death (1897), may have been his last work. In any event, his publisher died soon after. With the decline of the firm, copies of the Brahms sonata may have been overlooked until at last the so nata disappeared from view...
...there is one area in which admiration for Adams' work is universal: his command of tonal range on his prints. "The negative is the score," he says, "the print is the performance." Ad ams can do things with a print that are the despair of professional developers: his ability to bring out every nuance of tone within a shadow, gray overlapping black, so that each detail of form is both implicit and simultaneously present, is astounding. The difference of quality be tween an Adams print and one made by a studio from an Adams negative is just as evident...
...psychological phenomenon." And technically, it is. Light waves of varying lengths are interpreted by the eye and the brain as different shades, which may or may not be sensed by people in differing ways-there's no way of knowing. But color can also mean a flag, a complexion, tonal quality, prima facie evidence or opinion. By synchronizing on their exhibits for the first time, the Fogg and the Museum of Science, with its show Color Around Us, try to give some structure to this chaos of definitions...
...celebrate the 75th season of the Boston Symphony Orchestra, the symphony bridges the gap between two groups of modern composers: the conservatives like Copland, MacDowell and Gershwin on one side, and the adventurers like Stravinsky, Ives and Cage on the other. Piston's music contains smatterings of new tonal techniques, and his rhythmic and melodic lines are original, not derived from folktunes, but he's interested above all in restoring order and clarity to music...