Word: bache
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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...
...utmost efficiency consistent with impeccable elegance characterized the entire program--conducting, music, and performance. Mlle. Boulanger stood on her home ground: early and modern vocal and instrumental music. The selection of music avoided the Romantic period, and the blank from the death of Bach to the birth of Poulenc--1750 to 1899--accented the intellectualized, the carefully wrought, the finely spun. Inevitably, Mlle. Bouanger conceived and reaized the program in the image of her own precise character...
...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...
...years ago that Director Otto Karl Bach started his search for a painting that would fit in with his tiny cluster of top treasures, ranging from a Veronese and a Tintoretto to a Degas and a Renoir. He was not necessarily looking for a big name, but at the Wildenstein Gallery in Manhattan he happened to spot the Rembrandt in its marvelously fussy 17th century frame. The price for the painting was $95,000, but the gallery was willing to sell it on the installment plan. By last week the museum had collected from private gifts two-thirds...