Word: tonalities
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Dates: during 1990-1999
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...small, early landscape like Seawall, 1957. First, the clear marine light that seems to bathe all the forms, whether sharply cut (the tawny beach and wedges of black shadow on the left) or vaguer (the tract of scribbled green grass on the right). Second, Diebenkorn's decisiveness about tonal structure and the way sharp contrast can be used both to hollow out the space of the painting and to create a firm, flat pattern. And third, a breezy lyricism of feeling that was especially Diebenkorn's, an exhilaration at the material fullness of the world, translated into terms of pigment...
...wouldn't say that, actually. For the past three years I've been giving less [virtuosic] stuff; in many ways, this program is an anomaly. My second disc was four Beethoven sonatas. I don't play any meaninglessly difficult things. No, no Godowsky. Alkan has an interesting tonal language...I try to do sets that illustrate relationships that interest me. I was doing a set [in concert] that would alternate Beethoven sonatas with Rachmaninoff preludes and Bach preludes and fugues, and there was a Chopin nocturne in there...
...motets employs a style radical for those times: the "monody" or duet writing, which has a bolder and more expressive sound. Particularly beautiful is the transition from his hymn Ave maris stella (XII) to the concluding Magnificat (XIII). These two movements exhibit all the richness of sound and tonal imagination that make the Vespers such an outstanding work...
...whacks." Thought it calls for fewer than 20 performers, it requires them to sound like many more. This illusion succeeded best in the fanciful second movement, "Waltzes" and the "Elegy" that follows, a piece that itself could secure for its creator a reputation as one of America's greatest tonal composers. Previn and his temporarily reduced company made it not only a focused meditation on Lizzie's troubled character, but a monument to Gould himself, who died just last year...
...major song crescendoes to the joyful exclamation that the "maid of the mill is mine!" Unfortunately such bravado and courage soon dissipated as Nomura resorted to stroking our ears with a very throaty voix mixte--not fully singing and lapsing into half tone--in the later B and E tonal musings on death and despair of "Die liebe farbe" and "Des Baches Wiegenlied...