Gentle music surfaces before the first mention of Mr. Lazio, with the typewriter punching out praises to Mr. Lazio.
Watch Ed Banger at Sónar below and hope that more Justice music surfaces sooner rather than later.
And Mr. Neumeier, who lacks musical subtlety, tends to choreograph as if skateboarding over the music's surface and using it just for filmlike atmospherics.
Both have dynamics that, by working against the music's surface, make you feel the music's shape more powerfully.
There, and in the 12-bar blues that followed, he gave the impression of figure skating across the music's surface.
Allusion, like pun, opens trap doors of resonance, and is one of the ways in which the poems keep themselves present beyond the music of surface.
Mr. Konitz, by comparison, is all boiled-down wisdom: he makes diatonic, sunny music, with surface simplicity; even when he is in the heat of improvisation, it sounds like someone whistling a tune he has known all his life.
Harmonically the work revolves around a central core that seems to change very little, but the shifting textures on the music's surface keep this static harmony from sounding dull.
His Black Swan variation and coda was impeccable, with high, precisely drawn turns in the air that seemed to snap from the music's surface like wave-caps, a bravura series of grandes pirouettes to complement Klimentova's fouettés, and a beautiful, soaring final manège of split jetés that had the audience shouting its applause.
But while a piece like the eighth in the, er, sequence of Sequenzas for violin refracts the virtuoso traditions of the instrument through a colourful modernist prism, it also opens up a new kind of soundworld in its volatile extremes of density and dynamic, the way sudden chordal explosions lacerate the music's surface.
