Word: viola
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...Henry I. Kohn, recently named Alva T. and Viola D. Fuller-American Cancer Society Professor of Radiology at the Medical School, has been chosen to head the program. He said yesterday that his staff will probably include some members of the Medical School faculty...
Alive with his mission, Partch was soon busy building instruments to play his special music; he was, he said, "a philosophic musicman seduced into carpentry." He put a long neck on a viola to give it "microtonal capabilities"-then he built his Surrogate Kithara, a two-deck, 16-string zither that looks like a pair of overgrown abacuses without the beads. Next came the "Bamboo Marimba" (which Partch affectionately calls "the Boo"), a 64-piece, six-tiered assembly of bamboo rods to be struck by sticks padded with felt. Rising to the grandeur of his tasks, he finally produced...
...Five Players (In Five Sections). While apparently making due obeisances to the contemporary requirement of a priori organization (the sequence of timbres and textures appeared well organized, i.e., sufficiently chaotic), Wilson actually indulged in the old-fashioned technique of wit. Conducting a very competent chamber ensemble (flute, clarinet, viola, cello, percussion), Wilson produced an observable change of tempo within the very first of the five sections: an event totally unexpected in view of the leaden, unchanging tempi of the preceding work on the program. In the succeeding movements, Wilson created intimate subensembles and experimented with their sonorities; e.g., he combined...
...eight compositions were quite varied in both medium and style. Of the two string works, Steven Jablonsky employs the light texture of slippery, imitative lines in his quartet, and Tison Street's Trio possesses great reflectiveness. Robert Koff and Tison Street, violins, Giora Berstein, viola, and Madeleine Foley, cello, all clearly had a technical mastery of the music...
...nine movements of Le Marteau, Boulez presents three poems through the voice (Bethany Beardslee) and comments on them instrumentally. In each of the nine movements, Boulez uses a different ensemble chosen from the voice, alto flute (Harvey Sollberger), viola (Jacob Glick), guitar (Stanley Silverman), vibraphone (Paul Price), xylophone (Raymond Desroches), and percussion (Max Neuhaus). The texture of the sound is always clear, sometimes shimmering, sometimes punctiform, and always changing. With the flexibility of tempi and timbre goes an obvious fixity of notes and rhythmic patterns; certain intervals and rhythmic groupings recur constantly. And with all this planning, with all this...