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...worked on the staff of "Scoop" Jackson's Senate Interior Committee. Although he backed military-spending projects like the ABM, Foley was chairman of the liberal Democratic Study Group. Unlike the bellow-voiced, unpopular Poage, Foley is quiet, almost diffident; he has a preference for Mozart and Bach...

Author: /time Magazine | Title: The Nation: Three New Chairmen for the House | 2/3/1975 | See Source »

What the Baroque is really all about can be gleaned from the original use of the French word baroque to describe irregular or misshapen pearls. Explains Kipnis: "In Baroque music of Bach, Handel and Rameau, the pearls are the musical forms-such as the sonata, the concerto grosso or the da capo aria. Trills, other ornaments, colorful dissonance, wildly uneven rhythms-all these are devices that create tremendous tension, yank the listener back and forth and leave him in anything but absolute comfort...

Author: /time Magazine | Title: Music: Prince Igor | 1/13/1975 | See Source »

...talents in abundance. Indeed, it is doubtful whether any harpsichordist now performing can match his particular combination of formal restraint, interpretive flair and sheer energy. Certainly that was the case last week as Kipnis made a successful New York Philharmonic debut playing two diverse works under Conductor Pierre Boulez-Bach's Brandenburg Concerto No. 5 and Falla's Harpsichord Concerto...

Author: /time Magazine | Title: Music: Prince Igor | 1/13/1975 | See Source »

Under the Finger. Though written centuries apart, the Bach and Falla concertos succeed because neither tries too hard to make the harpsichord do things it is not supposed to do. "Too many 20th century composers think of the harpsichord as a piano or as a percussion instrument. They expect you to bang very hard on it," says Kipnis. The impressionism of Debussy or Delius, which calls for a dreamy, sustained tone, simply will not work on a harpsichord. A stride bass can sound downright laughable. The technique of the harpsichordist exists entirely in the fingers, not partly in the arms...

Author: /time Magazine | Title: Music: Prince Igor | 1/13/1975 | See Source »

...Bernstein's treatment of Schoenberg suffers from the same dogmatism he criticizes in Adorno. His failure is a failure to listen to the music on its own terms. He imposes his tonal expectations on works that have a different internal logic. He points triumphantly to the Bach chorale quoted at the end of Berg's Violin Concerto, without recognizing it as a historical allusion like those he found in Stravinsky and Eliot. Berg used tonal devices frequently for certain kinds of effects, but rarely as a basic principle of his music...

Author: By James Gleick, | Title: Whither Bernstein? | 1/8/1975 | See Source »

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