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Virtuosa violinist Midori, along with pianist Robert McDonald, performed on Saturday night in a concert that was simply inspiring. Midori delivered everything that was expected of her. Ever since she made her debut at age 11 with the New York Philharmonic, she has been gaining rave reviews and praise from the critical press, and Saturday's concert demonstrated why she is considered one of today's most expressive and evocative violinists.
This Saturday the Barbary Coast Jazz Ensemble will perform in Spaulding Auditorium at 8 p.m. with guest artist Arturo O'Farrill, a forerunner of Latin piano and the bandleader of the Afro-Latin Jazz Orchestra at the Lincoln Center.
The concert the Orpheus Chamber Orchestra presented in Spaulding Auditorium this Friday past was unusual for several reasons. The program presented works for half of the ensemble alone, showcasing the winds first and strings second. Also, the concert was a mixture of the canonized Western Art music of Felix Mendelssohn and two pieces of new music. Finally, the Mendelssohn included brilliant pianist Jonathan Biss; this being not at all unusual, until one finds out that Biss is a mere twenty-four years old.
This Friday, composer, flautist, improviser and inventor (in no particular order) Robert Dick will be performing at Spaulding Auditorium with King Chubby. The concert will include a world premiere of a Hop commissioned piece, "The Sound."
Richard Goode performed this past Saturday in Spaulding, and those familiar with his work were not surprised by the concert. That is, however, not to say the concert was a disappointment for Goode fans. Rather, it was consistent and most likely pleasing: an assortment of Haydn, Mozart and Beethoven (and this time, Debussy!) performed with a modern conservatory touch on a twentieth-century concert grand piano. The performance was, as far as Western Art concerts go, a crowd-pleaser.
Formed in 1973, the English Concert has won exuberant accolades from critics and fans the world over. The group, lead by Andrew Manze, is rightly considered the best at what it does. However, what it does is perhaps the most confusing and absurd concept in modern music: "historically accurate performance."
Hours upon hours of work. Weeks of sweat and pain. Zealous months of dedication. An entire year's effort for one show.
I've always wondered what modern dance really is, and frankly, I've always been sort of afraid of it. In the back of my mind it has sat in a little box with other new-age art forms that I'm sure I would not enjoy. All that changed during the past week, as I was lucky enough to see the Dartmouth Dance Ensemble rehearse for their upcoming shows on Saturday night and Sunday afternoon in the Moore Theater.
Guster performed for a sold-out crowd in Leede Arena Friday night, combining humor and music for a delightful concert.
Tuesday night, the Barbary Coast Jazz Ensemble performed the Senior Feature Concert in Spaulding Auditorium and wished goodbye to their graduating members by placing them in the spotlight. The concert featured seniors Kristin Romberg on vocals, percussionist Derek Hanson, trombonist Greg Hill and drummer Nick Stine.
When originally released in October 1970, "Jesus Christ Superstar" was the subject of controversy among many religious groups. The rock opera tells the story of the last seven days of Christ's life as seen through the eyes of Judas, providing a take on the story one does not often hear in Sunday school. Since the 1970s, the show has been reproduced multiple times, always creating some kind of media uproar.
There is an unwritten rule in music: remixes and reinventions of old classics are usually bad. Twice this year Dartmouth students have been witness to this truth, with Wynton Marsalis' attempt to play John Coltrane's "A Love Supreme" and Uri Caine's disastrous stab at Bach's "Goldberg Variations." Thankfully, a group performed last Friday that quiets the cynic in all our hearts, reminding us why reinvention can work.