Word: bache
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Dates: during 1960-1969
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...Kirschbaum, tiptoes to the phonograph and puts on a record. The music that serves as his alarm clock is always by Wolfgang Amadeus Mozart, whose work Barth describes as a "constant of my existence." "When the angels praise God in Heaven," Barth once wrote, "I am sure they play Bach. However, en famille they play Mozart, and then God the Lord is especially delighted to listen to them...
...much a tyrant as any monarch of the 18th century, but he liked to say of himself that he was "philosopher by instinct and politician by duty." He was also a patron of the arts. He played the flute to the accompaniment of one of Johann Sebastian Bach's sons; he wrote indifferent poetry under the tutelage of his sometime friend Voltaire; he was an avid collector of paintings and sculpture. In affairs of state, he was Prussian to the bone, but in painting he admired what was foreign...
...clock every morning, in the bungalow at No. 5152 Maplewood Ave. in Los Angeles, a man reaches beneath his bed and pulls out a $ 1,000 guitar. While still stretched out on his back, he plays Johann Sebastian Bach. He seldom stops before 8, and when he does, it is the signal for his three sons, who sleep just down the hall, to reach under their beds and grab their own guitars. The family plays together until 10. Then the father laces on some sneakers, and leads his sons in a run five times around the block...
...practice that very clearly pays off. In Manhattan's Town Hall last week, upright, tuxedoed and wide awake, the Romeros demonstrated that they are indisputably one of the best guitar ensembles around. Celedonio, 45, opened with a generous sampling of the literature for the classical guitar-Galilei, Sanz, Bach, Sor, Albéniz. His sound was lushly colored, his touch always impeccable, his readings alive with an extraordinary range of nuance not often found in the guitar. Celin, 24, followed his father-again with classical selections, but in a mistier, more rhapsodic vein. Angel, 14. offered a limber, clean...
...outstanding works in a program of nothing but major works came first and last. Bach's Cantata 161, 'Komm, du susse Todesstunde' (1715) matched the efficiency of Mlle. Boulanger's conducting with its extreme economy of harmonic movement and accompaniment. Under her restraint, the ensemble of some twenty singers and twenty instrumentalists managed to sound personal, even intimate. Tenor Karl Dan Sorenson filled the museum court-yard with his clear and accurate voice; in her second solo, Contralto Jenneke Barton did the same...