"For the first time in the world, the results of laboratory analysis of lunar return samples and spectral data from in-situ lunar surface surveys were used jointly to examine the presence, form and amount of 'water' in lunar samples," said co-corresponding author Li Chunlai from the National Astronomical Observatories of the Chinese Academy of Sciences (NAOC). The researchers published their results on June 14 in Nature Communications. Now, the Chang'E-5 team has determined where the water came from. The finding was validated through laboratory analysis of samples the lander returned in 2021. Two dancers, Kendall McDowell and Jenelle Henry, provided fluid accompaniment to funk-inflected rhythms of the percussionist Pheeroan akLaff and the bassist Luke Stewart.China's lunar lander Chang'E-5 delivered the first real-time, on-site definitive confirmation of water signal in the basalt's rocks and soil via on-board spectral analysis in 2020. itself - was brought into enjoyable focus thanks to contributions by students, during the third movement (“Our Beautiful Children”). The interdisciplinary nature of the school - and of the A.A.C.M. It brought to mind the couple’s long and fruitful collaboration, going back to 1980s releases like “Triumph!” and “ No Reservation.” It wasn’t supper-club-style scat, either - but an ingeniously shaped solo, concluding with some darting phrases that earned one of the night’s biggest rounds of applause. She brought crisp intonation to some mournful melodic lines that described the historical dearth of spaces for the neighborhood’s children “to sing or dance or act a part.” And later in the suite, during the explosive, uptempo penultimate movement, “Resilience,” she channeled the fiery sense of artistic expression made possible by the school, with an inventive solo of scat singing. 3” from the Liberian Suite).ĭuring “Searching Harlem,” the first movement of this premiere, the composer’s wife and longtime collaborator and vocalist Iqua Colson gave affecting voice to Maynor’s intentions in founding this institution. And thanks to some stirring playing from the violinist Marlene Rice, the music also proposed a lineage with some of Ellington’s chamber-adjacent music with Ray Nance on violin (as in “Dance No. At other points the work had all the high-energy markers of the 1970s avant-garde. Scored for an octet of piano, vocalist, trumpet, bass clarinet, violin, vibraphone, bass and drums, Colson’s music occasionally felt like a thrilling update of the soul jazz tradition - particularly when the composer’s piano took a subtly swinging yet harmonically unpredictable background role. And as the Philharmonic’s administrators continue to deepen their engagement with music by Black composers, they might have looked uptown on Saturday for a few more ideas. What they’ll play there, over the next few years, is beginning to come into focus. The next time we hear them indoors, it will be at the newly refurbished, redesigned Geffen Hall, inside Lincoln Center. It all made for a richly satisfying close to the orchestra’s challenging year outside its own auditorium. While the Carnegie crowd received Hahn’s appearance with an ovation befitting her global-star status - and responded to the culmination of the Mahler with fever-pitch satisfaction - they also greeted the new piece with enthusiasm. And though van Zweden’s over-articulated grimness in the middle sections of Mahler’s symphony came at the expense of the composer’s more colorful twists, the conductor’s handling of the outer movements delivered undeniable galvanic thrills. In partnership with Hahn, the orchestra gave Barber’s violin concerto some thrillingly rough-hewed edges, cutting against its public reputation as lighter fare. It was the beginning of a fine night for the Philharmonic.
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