Word: classicist
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Dates: during 1940-1949
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...finished only five chapters of his autobiography when he died. But they are the most important chapters of his life, because they show clearly the shaping of the citizen-classicist through childhood and youth (1863-86). The stately prose, and the way of life it describes, may seem to 1945 readers as strange and faraway as Horace-which is just what makes Memories and Opinions worth reading...
...striking illustration of what is going on throughout the U.S. in church music. For the past decade, music directors and organists of big city parishes have been vigorously campaigning to throw out the oldtime Victorian anthems and Gospel hymns and substitute the works of the so-called "pure classicists" like Bach, Palestrina, Victoria and the modern imitators of their polyphonic styles. Most ministers and congregations are either indifferent or hostile to change. Volunteer smalltown choirs, unopposed by professionals, are still enthusiastically flatting their way through the complicated, sentimental standbys. And even in Manhattan-hotbed of the classicist movement...
...secret of Latin teaching, as revealed in the Atlantic Monthly by Harvard's great 72-year-old classicist emeritus, Edward Kennard Rand (who served as an exchange professor at the Sorbonne a decade...
...with considerable hauteur, Eliot professed himself an Anglo-Catholic, a royalist and a classicist, and the chaplet of lyrics (Ash Wednesday) which celebrated his conversion remains the most richly beautiful of his poems. In the '30s, taking hints in diction from his brilliant junior W.H. Auden, he wrote the poetic dramas Murder in the Cathedral and Family Reunion. Now, at an age (54) when the talent of many good poets is dead and buried, he publishes the harvest of his last seven years, these four "quartets." Of all his poems they are the most stripped, the least obviously allusive...
...function, however much these factors influenced its creation. When a great musician has lived and breathed a certain style of music, doing as much as he can with its latent possibilities, the result will be art whether it hails from Vienna or the other side of the tracks. No "classicist" in his right mind would fail to recognize jazz, when well done, as art, deserving as much, if not more, respect than many of the patched-up things which, under the name of a Lizst, a Smetana or a Rossini, pass for "classical" music. It is up to the popular...