Word: bache
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Dates: during 1970-1979
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...Book. With a burst of earnest lyricism, he asks: "Have you ever experienced the good, clean feel that comes after expressing anger, as well as the increased self-esteem and the feel of real peace with one's self and others?" In The Intimate Enemy, Dr. George R. Bach, a clinical psychologist, turns anger into an art, or possibly a science. "Intimate hostilities," he guarantees, "can be 'programmed.' " Dr. Bach has his own slogan: The family that fights together stays together. And don't worry if you aren't very good at being angry...
...almost a fifth, or the distance from F to C on a piano. Mozart's tuning fork shows he tuned his piano to 422, which means that the Concerto No. 21 in C (K. 467) is really a concerto in C sharp (or possibly D flat). As for Bach's B Minor Mass, it may have been written in B minor, but it is anybody's guess as to how many cycles per second were vibrating in Bach...
...director of merchandising for Columbia Records, Munves was the man who dreamed up that company's "Classical Greatest Hits" series-Bach, Brahms, Bernstein, just about anyone. The records did nothing for the purists, but they scored a solid bull's-eye in the market and rang up $1,000,000 in new and unexpected wholesale revenues for Columbia. Munves was also the first executive to turn on to Switched-On Bach, when almost everyone else at Columbia was turning off. Now, 2½ years after its release, Bach on the Moog synthesizer is still...
...ballet begins in darkness. A pianist (Gordon Beelzner) sounds the delicate, unobtrusive theme upon which Bach built his variations. Onstage, as the curtain rises, are a couple (Michael Steele and Renee Estópinal) in period attire: he in black frock coat and breeches, she in a white bell-shaped dress. Their movements together are as much mime as dance: a conversation of courtly gestures, expressed more by arm and hand than by the deceptively easy steps that subtly accent Bach's limpid line...
With a less skillful choreographer, or a less disciplined troupe, Bach's music might have inspired little more than energetic exercise or personified precision. Robbins has caught the passion that underlies Bach's formal rhythms, notably in the serpentine, body-entangling duets of Patricia McBride and Helgi Tomasson, which are to the sophisticated eye more erotic than anything in Oh, Calcutta! Small human touches abound: John Clifford, as the leader of a group, suddenly stands motionless in seeming awe as dancers twirl and leap around him; an acrobatic quartet of male dancers cartwheels and somersaults like refugees from...