| [Néa] | The recent performance of Bach's Second Partita for |
| [Doctroid] | bass clarinet and cembalo, a rarely heard piece which |
| [Raak] | makes great demands of the performer's ability to sustain |
| [Doctroid] | this listener's interest throughout its 138-minute duration; however, the splendid |
| [joh] | sounds caused by the audience fidgeting in their (squeaking) seats. Most notable was the lead |
| [Raak] | bassoonist began the duet in waltz time, their perfect ensemble |
| [Doctroid] | with the glaring exception of the snare drum. In Debussy's |
| [Néa] | piano concerto, cleverly orchestrated by |
| [Raak] | Berio, the soprano part is replaced by the triangle. This poses some interesting problems |
| [Doctroid] | in regard to diatonic microtonal intonation and the use of |
| [Néa] | as many as 58 soloists, all singing in unison |
| [Doctroid] | during the raspberry chorus in the second movement, a brisk allegro con |
| [Raak] | brio tests the ability of the third flute to carry an exposed line, a task which Mlle. Tanaka |
| [Néa] | who, unusually, was playing on a saw |
| [Doctroid] | which was later used to perform John Cage's "Destroying a Piano". This piece features |
| [Raak] | one of the most testing passages in the cor anglais repertoire, with its exposed solo line |
| [Néa] | counterpointed by the dramatic introduction of seventeen live nightingales, |
| [Doctroid] | and an upturned galvanized tub with chicken feed on top, a microphone underneath, and eighteen chickens. This may be the avant garde's least |
| [Raak] | well-known contribution to world peace, eclectically combining |
| [CdM] | silence with lack of silence, the result being |
| [Doctroid] | the immediate departure of two thirds of the audience. Those who stayed |
| [Raak] | were treated to two encores |
| [joh] | of a dubious nature were given. These were conducted by a hirsuite man holding a |
| [Doctroid] | cardboard tube jammed into the bell in order to reach the C two octaves below |
| [Néa] | the basso continuo; a truly magnificent |
| [Raak] | climax. As the lights came up, they revealed that not only had the audience all left, but so also had the performers, creating the ultimate silence that is surely the ultimate music. |