A ship or boat slides through the water.
[…] it is far too fudgily phrased.
Keyla Orozco’s “Para Tí Nengón” (1998), a transfixing percussion work, elaborates on rhythmic patterns typical in nengón, a form native to eastern Cuba, from which the later popular styles son and changui evolved. Ms. Orozco’s four-movement fantasy begins with comparatively simple, light-textured patterns, played on wood blocks, but its rhythms grow increasingly complex as the players — Matthew Gold and Eduardo Leandro — move to bongos and tom-toms, then to bell-like instruments and percussive vocalizations.
On the tabula of the mind she tried to write the word.
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