Word: debussyã
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...other side of the park, under the gazebo, David Phillips’ “Beach Fragments” go almost unnoticed. The bronze medallions contain a mix of imagery drawn from marine biology, astronomy, particle physics, and even music, featuring a line from Debussy??s “La Mer.” But it is the nearby “Never Green Tree” which rightfully ends up stealing the spotlight. Former Graduate School of Design professor William Wainwright’s “Never Green Tree” is a unique and innovative...
Ishiguro’s short stories are well-executed, witty, and will not fail to disappoint his past readers. However, the stories still feel more like the technical toying of a master musician than a lyrical melodic narrative. Unlike Debussy??s carefully nuanced grey that covers the whole of the emotional spectrum, Ishiguro’s “Nocturnes” are filled with the grey of blanketed emotion. Shimmering scenes occasionally rise up out of the narrative, only to be dragged back into the monotony of ordinary life...
...matter of experimenting with the different arrangements of one color,” Debussy wrote in 1894 concerning the composition of his three “nocturnes,” “which, in painting, for example, would be a study in grey.” Debussy??s vision of grey is not flat or dull; instead, it is a tone that remains mysterious, though it partially reveals itself in beautiful and distinct flashes. In the same manner, this delicate nuance of a singular emotional mode underlies Kazuo Ishiguro’s first collection of stories, itself...
Members of the Radcliffe Choral Society and the Harvard-Radcliffe Collegium Musicum joined HRO members onstage for “Nocturnes,” Claude Debussy??s electrifying trio of symphonic poems. Debussy??s orchestration plays with texture and tone just as impressionist painters manipulate light and color, and the ensemble demonstrated a remarkable talent for this tonal experimentation. From the mystic wind and high string introduction to offbeat trills and pizzicato sequences in the second movement, the orchestra adeptly drifted in and out of various keys and tonalities without losing its crucial sense of rhythmic...
...this harmonic respite, Lang coaxed the coda from a steady trot of sharp staccatos into a thunderous gallop of arpeggiated exclamations. Lang transitioned flawlessly from the mad chaos of Bartók to the nuanced subtlety of the French impressionistic style with a few selections from Claude Debussy??s Preludes. It was these simple tone poems, not the virtuosic heavyweights that usually dominate any performer’s repertoire, which revealed the musical genius behind Lang’s commercial success. His interpretation of Debussy??s popular melody “The Girl with the Flaxen...