Word: concerto
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Dates: during 1970-1979
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...innovative Esquire magazine of the early '60s. His preference for characters over plot-something of a flaw in The Late Show-comes from Truffaut, a friend and mentor since Bonnie and Clyde. In Kramer, Benton pays tribute to the French director by using snatches of the Vivaldi mandolin concerto; the same music turned up in The Wild Child, Truffaut's masterpiece about another relationship between a man and a young...
Joan Kennedy is a woman whose warmth and charm would have shone in almost any field of life. She has taught in public school and performed a Mozart piano concerto and read Peter and the Wolf with the Boston Symphony. Says one Bostonian who knows her well: "There isn't anyone wanner or dearer, when she's feeling good." But public life has not been kind to Joan Kennedy. Its wounds can be seen in the puffy eyes, the exaggerated makeup, the tales of alcoholism. Today she is a sadly vulnerable soul and an unknown factor...
...subtle that the per former only thought of it. His conductor's scores were meticulously diagrammed in various colors-road maps, as Robert Craft said, to perfect performances. But the price of perfection could be too high. In 1936, preparing the posthumous premiere of Berg's Violin Concerto, Webern covered only eight bars in two rehearsals. He had to withdraw in favor of a less exacting conductor...
This is a film about love and families and the faith that keeps the lives of a group of peasants together. Prayer punctuates their daily lives like the motif in the Bach concerto underscores their joys and sorrows. A woman angrily exhorts the Lord to save the life of her cow; her prayer reprimands a God who would let the only cow of a widow with six children become ill. The Pater Noster becomes a magic spell chanted in Latin by the local healer, and always there are the endless "Ave Marias," with the accent heavily on the Ave, which...
Krzysztof Penderecki: Violin Concerto (Isaac Stern, Minnesota Orchestra, Stanislaw Skrowaczewski conductor, Columbia). Stern could easily coast along on the war horses of the repertory, so more power to him for continuing to stretch himself in challenging new works. This somber single-movement piece, composed for him in 1976, is less abstract, more late Romantic, than the experiments in shifting sonorities that made Penderecki's name in the 1960s. Over brooding drumbeats and pedal tones, Stern gets a virtuoso workout in involuted runs and dissonant double-and triple-stops. But what stays in the mind is the sustained, eerie high...