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	<title>Musical America Blogs &#187; alice tully hall</title>
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		<title>Finding the Right Gimmick</title>
		<link>http://www.musicalamerica.com/mablogs/?p=4184</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=4184#comments</comments>
		<pubDate>Wed, 14 Mar 2012 16:01:21 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[alex ross]]></category>
		<category><![CDATA[alice tully hall]]></category>
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		<description><![CDATA[by Sedgwick Clark Shaham’s 1939 Dark Horse Gil Shaham had an epiphany. After years of recognition as one of the brightest young lights of the concert circuit, the Israeli-American violinist conjured one of the most imaginative programming concepts in years. He had been struck by how many violin concertos written in the 1930s had entered [...]]]></description>
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		<title>Masterly Mann at Manhattan</title>
		<link>http://www.musicalamerica.com/mablogs/?p=3574</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=3574#comments</comments>
		<pubDate>Wed, 11 Jan 2012 17:19:34 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[Alan Gilbert]]></category>
		<category><![CDATA[alice tully hall]]></category>
		<category><![CDATA[avery fisher hall]]></category>
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		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=3574</guid>
		<description><![CDATA[by Sedgwick Clark In their wildest dreams, the six string quartets couldn’t have asked for more. Nor could music lovers, as the Manhattan School of Music rang in the New Year with what it called the “Inaugural Robert Mann String Quartet Institute.” Yes, this is why I left Muncie, but this time my hometown friends [...]]]></description>
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		<title>&#8220;Pina,&#8221; Wim Wenders&#8217; 3D Dance Film</title>
		<link>http://www.musicalamerica.com/mablogs/?p=2978</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=2978#comments</comments>
		<pubDate>Tue, 18 Oct 2011 14:59:47 +0000</pubDate>
		<dc:creator>rachel.straus@earthlink.net</dc:creator>
				<category><![CDATA[The Torn Tutu]]></category>
		<category><![CDATA[3D film]]></category>
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		<description><![CDATA[“You just have to get crazier.” These words came from Pina Bausch, the late choreographer, whose dance troupe made the industrial city of Wuppertal, Germany an avant-garde theatrical destination for 36 years. In Wim Wenders’ 3D documentary “Pina,” screened on October 15 at Alice Tully Hall for the New York Film Festival, audiences got a taste of what Bausch’s crazy looks like. In one scene, a Bausch dancer walks through a park in a floor-length dress like a zombie queen. The woman careens to the ground, flat as a board. Right before smashing her face, her suitor scoops her up like a crane lift. Then she falls again, and again. The effect is part amusement ride, part suicide watch.]]></description>
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		<title>Mostly Mozart/Some Stravinsky</title>
		<link>http://www.musicalamerica.com/mablogs/?p=2343</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=2343#comments</comments>
		<pubDate>Fri, 12 Aug 2011 08:50:57 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
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		<category><![CDATA[théâtre des champs elysées]]></category>

		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=2343</guid>
		<description><![CDATA[by Sedgwick Clark Lincoln Center’s attempt to add variety to Mostly Moz is just fine with me, especially if the variety is Stravinsky. Audiences seem to agree too, for a Saturday afternoon of Stravinsky films and two concerts of his chamber music by the spiffy International Contemporary Ensemble (ICE) were packed. The first of the [...]]]></description>
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		<title>Precision Isn&#8217;t Everything</title>
		<link>http://www.musicalamerica.com/mablogs/?p=2320</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=2320#comments</comments>
		<pubDate>Fri, 05 Aug 2011 06:30:53 +0000</pubDate>
		<dc:creator>sedgwickclark@aol.com</dc:creator>
				<category><![CDATA[Why I Left Muncie]]></category>
		<category><![CDATA[alice tully hall]]></category>
		<category><![CDATA[carl nielsen]]></category>
		<category><![CDATA[Emil Telmányi]]></category>
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		<category><![CDATA[Michael Schønwandt]]></category>
		<category><![CDATA[Midnight in Paris]]></category>
		<category><![CDATA[Nila Parly]]></category>
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		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=2320</guid>
		<description><![CDATA[by Sedgwick Clark We’ve been in the thrall of “perfect” playing for so long that sometimes it takes a less than precise ensemble to remind us of genuine character. The Royal Danish Orchestra, under its music director Michael Schønwandt, had it in spades last week in its delightful program of native son Carl Nielsen’s strange [...]]]></description>
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		<title>Second entry from our esteemed, don&#8217;t-make-me-do-this blogger</title>
		<link>http://www.musicalamerica.com/mablogs/?p=432</link>
		<comments>http://www.musicalamerica.com/mablogs/?p=432#comments</comments>
		<pubDate>Thu, 26 Feb 2009 18:36:33 +0000</pubDate>
		<dc:creator>admin</dc:creator>
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		<guid isPermaLink="false">http://www.musicalamerica.com/mablogs/?p=432</guid>
		<description><![CDATA[Why I Left Muncie. Half a dozen things to do every night without turning on a TV; Lincoln Center and Carnegie Hall a stone’s throw from home; the Sunday Times on Saturday night; MoMA and the Met; theater and film; in the good old days, record stores. This title is kind of unfair to my [...]]]></description>
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