Word: violins
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Dates: during 2000-2009
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...insects showing through / And all them tiny insects look like you.” Along the same musical and topical lines, “Insanely Jealous” starts with an urgent but subdued bass throb, agitated hi-hat and the slender and raw tremolo of a violin. It gradually works into a deliberately guided frenzy of dipping and weaving bass and guitar squall—and, of course, the spit and muttered skewering of love: “But all I hear when they embrace is just the kiss of skulls...
...eclectic as its name, mixing the sounds of the saxophones of Rob Lee '03 and Joseph Cousin '02, the keyboard of Alex Gordon '04, the drums of Vahid Hakimzadeh '04, the electric guitar of David Plunkett '04, the bass guitar of Previn Warren's '04 and the electric violin of Gabriel Jostrom...
...members of this group had not all played together prior to their set. However, their improvisations (and occasional dissonance) did not detract from their act.Their psychadelic jazz and funk beats pulsed through the gradually growing audience while the plaintive melodies of the sax and violin accompanied. The band's forty minutes of almost non-stop playing established the perfect casual and groovy environment for the evening...
...most anticipated part of the evening was the world premiere of Donald Martino's Romanza, written especially for Schulte for this concert. The work, for solo violin, opened with extreme intervallic explorations that lead to variations that increase in intensity. As the composer wrote in the program notes, "The sets of variations at first are cast within traditional phrase-length boundaries, but as the line unfolds, these become freer and more fanciful." The three parts of the work (alternately slow, fast and slow) flowed well, and there was some obvious excellent writing, such as the one part where the violin...
...served as a substitute for a Milton Babbitt piece that was to have been premiered at the concert (apparently Babbitt could not finish the piece in time). The interludes comprise two moderate-tempo movements and a scherzo-like middle movement. The piano accompaniment is harmonically inventive, but the violin line sometimes suffers from a lack of development. Still, Schulte and Winn played the piece with accuracy and enthusiasm...