e-book Saturday Night in the Cosmos - B-flat Lead Sheet

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LO from Hong Kong. Stayed 3 nights in May Reviewed May 16, Did you find this review helpful? Yes No. Family with young children. Misattributed [ edit ] Somewhere, something incredible is waiting to be known. This phrase was created by reporter Sharon Begley in the end of a Newsweek article with an extended profile of Carl Sagan. It was a final conclusion about Sagan's work and the topic of hypotethical extra-terrestrial life forms.

This is a paraphrase of Sagan quoting Thomas Carlyle : "A sad spectacle. If they be inhabited, what a scope for misery and folly. If they be not inhabited, what a waste of space. In its versatile element, the L. He got from the orchestra a sound as rich as the most lavish holiday feast. His Tchaikovsky of the Technicolored melancholy of an old Hollywood tearjerker. A Talmudic Tchaikovsky, questioning every gesture, but always with the knowing reserve that sadness and beauty are the way of the world. A Tantric Tchaikovsky, cyclically doling out pleasure and suffering. McDonald told the audience, are especially pertinent during these troubling times.

How does a conductor make this music seem as shocking as it did at the raucous premiere? Many just overemphasize every blazing climax and drive tempos frantically. Thomas, with his keen theatrical instincts, knew when to keep the lid on things to maintain suspense. So when the hellbent stretches came, the effect was truly terrifying. To me, the performance suggested this ritual — a ceremonial rite culminating with a human sacrifice — was performed every spring. The woodwinds glowed — not only with the velvet of flute unisons led by David Cramer, but also the tight interplay among Cramer, clarinetist Ricardo Morales, oboist Richard Woodhams and bassoonist Daniel Matsukawa.

Tilson Thomas draws on multiple musical styles. Funk seems not far off, and rock rears its head. Saxes, brass, rock guitars, and bass guitars line the back of the ensemble. A tender orchestral section curdles into dissonance and sweetens again. The lead singer, Canadian soprano Measha Brueggergosman, prowled the stage, sometimes teasing players in the orchestra with a mocking seductive look or gesture. Tilson Thomas, with assistance from orchestrator Bruce Coughlin, has written dire stuff.

The piece has moments of light, a patch in a conciliatory movie-music vein. The singers sing and warble. Peter Dobrin, Philadelphia Inquirer, 03 March Prior to the commencement of the concert, Tilson Thomas asked the audience at the New World Center in Miami Beach to stand for a moment of silence in memory of the victims of the school shooting on Friday in Parkland.

He added that he too was busy at that time getting ready to be born which happened later that month. The score was a great showcase to display every section of the New World at top strength and Tilson Thomas conducted it with idiomatic flair. Debussy completed the work in but withdrew the score prior to the scheduled premiere, revising it repeatedly over several decades but refusing to allow publication or performance. This work is as close as Debussy came to writing a piano concerto and it demands a soloist with formidable technique and musicianship.

The Norwegian pianist Leif Ove Andsnes is that and more. Andsnes is an artist who puts a distinctive stamp on everything he plays. While the score is not an unforgettable masterpiece, it deserves to be played more often. The opening oboe solo of the first movement suggests typical Debussy impressionistic languor but the music soon morphs into a more romantic vein.

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The fleet-fingered Andsnes conveyed a full range of pianistic colors. A master at sweeping, big-boned whirls of melody and pyrotechnics, he played the Rachmaninoff-like sections at full power. Jazz had not even been conceived as a popular art form in the late nineteenth century so Debussy was literally inventing a musical language.

Vigorous, fistfuls of notes and hand crossings at the outset gave way to pearly toned elegance in the lyrical episode. This terrific pianist needs to be heard more often in South Florida. From the barely audible rumbles of the seven basses in the first bars to the blazing finale, Tilson Thomas emphasized a wide sonic palette with sharp contrasts of tempo and dynamics. Fast sections were very fast. Strings played with a dark tonal cast and the large wind contingent was outstanding.

The gradual coalescing of the principal theme of the finale was thrilling with the conclusion perhaps setting a new decibel level for an orchestral performance at the New World Center. The eternally boyish conductor, at 73, seems decades younger.


Fit, handsome, energetic and engaging, you wonder instead what his next unusual project will be like — not his retirement. These seem distant, but remain vivid when he discusses them. For Boston, he is the one who got away. But the beginning was much different: beaded, long-haired and exotic, Ozawa seemed like a perfect match for the BSO. For a long time he was.

ranlocernati.ga But MTT could have made that match as well. By the time Ozawa was named music director in ironically, after a stint in San Francisco , MTT had already conducted the BSO dozens of times, and recorded prolifically. He was a Tanglewood wunderkind — but so was Ozawa.

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He was in Boston as assistant conductor when Ozawa was off to San Francisco and other orchestras. But Ozawa got the job, and stayed — for a long time. The innovative programming and community connections that NWS has established in Miami — certainly reflected in its younger, more diverse audience — could have transformed concert-going in Boston into a less stodgy affair. The ensemble, which he founded to provide post-doc training for top-flight conservatory graduates, will continue to benefit from his leadership, and his programming initiatives.

Completed in , the New World Center mirrors the orchestra: flexible, somewhat brash, able to accommodate any of the art forms and facilitate an interesting conversation. The hall itself dismisses the notion of fussy manners that haunts classical music performances — no clapping, how to dress, all that. There is no doubt that the New World Center is built for the future. Apart from the indoors and outdoors video capabilities, the stage itself swivels, separates and lifts, providing functional adjustments to seat the orchestra and the parade of actors, dancers and spoken-word artists that collaborate with NWS.