Word: complexities
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Dates: during 1960-1969
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...moment when one of Penderecki's characters shouted "God is dead!" there came a clap of thunder and a storm enveloped the theater. The audience was as impressed by the opera as by the incident. But despite its effectiveness, The Devils seemed episodic, eclectic, and the complex Penderecki (pronounced Pen-der-ete-key) score sometimes trod meekly behind the drama instead of forcefully alongside it. What gave absolutely no grounds for complaint were the performances of Baritone John Rear don and Mezzo-Soprano Joy Davidson. As a sensual priest who is burned at the stake, Reardon in particular gave...
...recent apologies have stressed him as a Bold Innovator or as a distraught mid-century man who is, like all of us course, pre-phoenix in spirit. Such descriptions might deeply engage the imagination of the creators on Easy Rider but are a ludicrous profanation of an extremely complex musician. No matter how hard harried annotators try, their exegeses are usually self-congratulation for the act of explanation. The result has been a sanctimonious exhumation which consists of a disfiguring serious of antinomies, most commonly Mahler as neurasthenic Demon and Poet. But more violent misconceptions are the persistent currency...
...saying, I believe, that life is little more than the distortion of the beautiful and pristine, but rather that irony is the tissue of man's life. His starkly juxtaposed Use of diatonicism and chromaticism prefigured the expressionists, especially Berg, who sought to express musically the complex of radically differentiated psychological impressions texturing the mind at any instant. The considerable length of some of Mahler's works was demanded by this immense fundament of response to a single idea or mood, although such length is accompanied by austere artistic control. Mahler's habit of multiple commentary on thematic materials helps...
Thus one of the few antitheses which as any applicability to Mahler is his disciplined, complex response to diversity while believing in an irreducible, if ultimately unvoiceable permanency in life. The milieu of is world may be suggested by the names Eichendorff, Haupmann, Strauss, Kant, Sclegel, Mozart, the Mass, and Goethe: a weird assemblage which yielded a mind disposed to mystical and ironical visions, but always wit a resilient core of innocent he is accused of innocent simplicity. And this is almost certainly the reason e is accused of parody. As Tovey wrote...
Transforming Lawrence Durrell's massively complex Alexandria Quartet (Justine, Balthazar, Mountolive and Cled) into a single coherent film is an impossible task. Obviously. Four full-length films could hardly unravel the interlocking time structure and convoluted personal relationships in the four separate but interrelated novels. Thus 20th Century-Fox might have been well-advised to follow the traditional Hollywood practice of isolating a single incident from one of the novels and blowing it up into a complete story for the screen. But fearlessly, the studio resolved to distill the essence of the entire Quartet -carefully constructed around Freud...