35) to be heard in otherwise atonal works such as Collage sur B-A-C-H (1964), and the use of a priori compositional strategies, such as the predetermined crescendo/decrescendo shape that controls
Perpetuum mobile.
Before Madam Butterfly, members of the company performed Christopher Hampson's short, neoclassical piece
Perpetuum Mobile which proved a real bonus for the audience.
A final burst of abstract imagery, a whirling
perpetuum mobile of sparking pain, employs Fischinger-like abstraction for its subjective representation of dental agony.
I must say I find this intriguing but ultimately less convincing than Smith's other fine points about chordal grupetti,
perpetuum mobile, parody, and the like.
The form of
Perpetuum mobile resembles a filmic style in its alternating views of texts of different genres (epic poetry, sonnets, personal essays, historiography, dictionaries) and readings of visual expression (scientific sketchbooks, anatomical drawings, mappaemundi, garden designs, artificial grottoes, sculpture, emblems illustrating editions of the Metamorphoses) to extend the criteria that push the "Baroque" back through Mannerism and past the advent of Cartesian rectitude.
Robert Schindel's
perpetuum mobile kind of style, engendering obscurity on occasion, tends to confuse the reader.
Contractor name : ZAJEDNICA PONUDITELJA:
PERPETUUM MOBILE D.
The rip-roaring final
Perpetuum Mobile kept everyone on their toes, posing no problems for the soloist with her myriads of quirky prestissimo semiquavers.
With video projections displayed on specifically fabricated objects, with video monitors incorporated into elaborate constructions, several of them recalled fantastic machines in the
perpetuum mobile tradition; others looked like giant semitransparent surveillance structures made of Plexiglas.
Christopher Hamson's
Perpetuum Mobile set to an exhilarating Bach score was music for an evening in early spring - witty, fluently melodic and with an inspirational lift which inspired the dancers.
Not far from this, the psychedelic, ever-changing mandala of James Whitney's animated films (Yantra, 1950-57; Lapis, 1963-66), projected on a large screen, echoes the silent, almost bucolic
perpetuum mobile of the three Liquid Reflections by Liliane Lijn nearby (in which one or two balls slide on a large rotating Plexiglas plate sprinkled with water; spotlighted in an otherwise dark space, the high-tech water lily floats).
Unfortunately such enthusiasm was not reflected so readily in
Perpetuum mobile which, with regards to tempo, laboured rather on the pedestrian side.
