Word: bachs
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Dates: during 1950-1959
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James D. Lorenz '60, President of the Debate Council, and John Harbison '60, conductor of the Bach Society Orchestra, agreed that activities complemented studies. A student is often restricted in course work from creative art, they felt...
...resignation as Secretary of State, the gaunt, tired man in the presidential suite at Washington's Walter Reed Army Hospital struggled to hold his own. John Foster Dulles read fitfully at his books-Agatha Christie and Erie Stanley Gardner, Churchill's memoirs, tire Bible. He listened to Bach on a stereophonic hi-fi that he had donated to the hospital last December. Sometimes he tried a crossword puzzle, listened to the news on TV. chatted about events with such faithful visitors as President Eisenhower and Secretary of State Christian Herter, played, backgammon with his wife Janet...
...saxophone; of cancer; in Garches, a Paris suburb. At ten Bechet was tooting his clarinet in the dives of Storyville, New Orleans' oldtime red-light district, over the years spread the lusty music of Dixieland up and down the land, across the Atlantic. An eclectic musician who knew Bach, could read music only sketchily, but wrote a ballet, Composer-Performer Bechet wove grand opera into Dixieland, combined some Verdi with Gershwin whenever he played Summertime. In and out of favor in the U.S., he won his greatest success in Europe, became the idol of Paris cafe jazz buffs...
...think it can be said that Cezanne is first and foremost the painter's painter. Whether he deals with a mountain or an apple he concentrates upon the inner architecture of his subject. An analogy with Bach is entirely correct--the partitas and fugues rather than the masses and cantatas. In both cases pure form is the object; in both the most complete spiritual clarity is achieved; in both sentimentality is banished. Emotion is there, but it serves to enrich a work which is as intellectually controlled as art in any form can be. In short, it represents that inspiration...
...shorter works, Hindemith's "Five Pieces for Orchestra," Op. 44 and Scarlatti's "Sonata a Quattro" in d minor, followed the Bach. The fast parts of both these compositions were well handled by the orchestra. Yet, a more expressive and tender approach seemed in order for the slower Hindemith pieces while more majesty could have been suggested in the second movement of the Baroque "Sonata." The disappointment in these passages seemed to be due to an incomplete understanding of the music on Harbison's part. He continued to emphasize rhythmic vigor when the works really required more attention...