Word: tonalities
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Dates: during 1960-1969
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...both the concert stage and home. But although used by many orchestras and some solo ists, the Baldwin has never been the first choice of most top concert pianists, who complain that its sound, instead of ringing out, dies away with a metallic clunk and bogs down their tonal flights...
...most convincing characterization was Jeanine Crader's Phedre, really the only role of any dimension. Though a small-voiced mezzo, she turned on her contralto chest tones when the occasion demanded, bravely sacrificing tonal purity for dramatic effect. The Thesee of baritone George Fouree was excessively forced, with no top notes; probably he was preoccupied with flailing the devils sailing over his head. Boris Carmeli (Pluton), Carol Bogard (Diana) and Norman Kelly (Tsiphone) were all effective in their smaller parts...
...logical break in the music. In Manhattan, as much as 15% of an audience, elbows at the ready, will come clomping down the aisle between movements of a symphony. Complains one critic: "A listener's mood is broken-no, shattered -when he is removed from the tonal world that has just been established. And just because some inconsiderate couple felt like dawdling over their coffee." To teach latecomers a lesson, Stokowski once had his musicians wander idly off-and onstage while playing a Mozart symphony. Another time he turned to the audience and conducted the coughers: "All right, cough...
Caught up in the balance between that relationship and the story of the murder, at the same time conscious of the ambivalence inspired by Capote's structural framework and tonal detachment, the reader finds himself stripped of objectivity. He is forced to participate intensely, not vicariously, in the public phenomenon of impersonal terror; and allowed to share in the private world of personal fantasy--where a childhood symbol such as Perry Smith's avenging parrot "flying overhead, red and green/green and tangerine" becomes a vision that enobles a headline terrorist...
...last Thursday night, Lowell Davidson had already gone full circle in his style. Before playing with Ornette Coleman in the summer of 1964, his music was tonal, metrical, and fairly conventional except for his obvious technical mastery. Then, last fall at Kirkland House, he played in short, tension-filled jabs at the keyboard that left his audience mostly puzzled. But with the Spring Concert at Quincy House came longer phrasing and a lyricism that echoed earlier styles, although the rhythmic anarchy was still there...