Last mission to repair the Hubble telescope Hubble space telescope discoveries have enriched our understanding of the cosmos. In this special report, you will see facts about the Hubble space telescope, discoveries it has made and what the last mission's goals are.
For their own good
Fifty years ago, they were screwed-up kids sent to the Florida School for Boys to be straightened out. But now they are screwed-up men, scarred by the whippings they endured. Read the story and see a video and portrait gallery.
TAMPA - The Rite of Spring brings out the best in an orchestra. For Friday's performance at Tampa Bay Performing Arts Center, members of the Florida Orchestra seemed as if they were poised on the edge of their seats, intent on every last nuance of music director Stefan Sanderling's reading of Stravinsky's irregular, constantly changing rhythms. Their alertness yielded a thrilling display of clarity and restraint coupled with go-for-broke virtuosity.
Tchaikovsky' Sixth Symphony, the tragic Pathetique, took up the second half of the program. What a difference a generation makes in Russian music. Where Stravinsky is economical, Tchaikovsky returns again and again to the same themes. And who could blame him for dwelling on the big tune of the first movement or the march of the third?
Despite the differences, these two classics abound with connections. For example, both begin with bassoon solos played by Mark Sforzini, the famous high melody to open The Rite of Spring and a low one in the Pathetique. When he was 11, Stravinsky attended a performance of Tchaikovsky's symphony. Perhaps he remembered that bassoon solo years later while writing his ballet score.
The curtain raiser was the premiere of Robert C. Constable Jr.'s Target Audience, which cleverly mimicked Stravinsky in a glorious brass and percussion gesture. But like most of the new miniatures the orchestra has played this season, the piece seemed to be over too soon.