Word: brasses
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Dates: during 1960-1969
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Perhaps surprisingly, the Navy's brass liked what it heard, responded to Connally's speech with warm applause. If, as his speech suggested, Connally was going to be a salty and vigorous leader, the Navymen seemed happy to have him at the helm. And he might even make a dent in the featherbed...
...front door is a' massive triptych of oak and brass with a 20-lb. knocker that sports Venus and Neptune hanging from the jowls of a metacanine beast. If you walk in hurriedly, you are instantly outdoors again in a huge courtyard, having passed through a small hall with flooring that is a mixture of Pennsylvania linoleum and Spanish tile. The courtyard is full of rosebushes, boxwoods, a grape arbor, and mirrors on an inland wall that reflect the sea. A statue of St. Francis stands in the center in a filled-in pond that once, in another era, brimmed...
...Moreover, the lavish librettists have added Greek deities to Greek dames, offering scenes on an Olympus that, culturally, seems way below sea level. Furthermore, all the characters favor a modern idiom, so that when not dittying "Whoever is chaste has got to be chased," they talk of sponsors, top brass, secret weapons, summit meetings and population explosions. Against all this, the evening offers Jan ice Rule as a Diana down in Athens from Olympus, Cyril Ritchard as a Pluto up from Hades, attractive William and Jean Eckart sets. The musical also has at least one good Dania Krupska ballet...
What is most striking about the Requiem and this performance was the combination of sweetness with simplicity and order. Faure scored it for small forces and encapsulated loudness and brass entrances within the quietness and reserve of its larger structure; Munch never violated his intention. This combination of restraint and feeling seems to hark back much to the Enlightenment, for Faure's paradise is a place of rest with no harrowing alternative of hell. He is essentially a humanist who finds the Christian forms both beautiful and adaptable to his own feelings...
Munch never let Bruckner's rhetoric get out of hand. He controlled the volume and balance so well that the work built up to its most massive cannonade of sound at the very end and the removal of one choir, say the brass, did not weaken the motion of the other parts. Chorus, orchestra and soloists blended easily, the trumpets and horns penetrating the luminous tone of the chorus but never over-powering it. The chorus's enunciation was perfect throughout. As in the Faure, here there was no schmalz, and Richard Burgin's violin solo in the Aeterna...