Word: counterpoints
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Dates: during 1930-1939
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...bright as gold-pieces and serpentine horns made the music for Shankar to dance to. It was delicate, highly refined music for the most part which, with its single thread of melody, might have sounded monotonous to Occidental ears but for the drummers tapping and slapping a swift, intricate counterpoint, and for Shankar...
Written while Mr. Fraser was still devoting himself to a mastery of counterpoint and orchestration, these essays show a keen perception and understanding. Whether he treats of Prokofieff or Wagner, he writes with a detached and unwavering judgment. To him the greatest of music is a combination of form and inspiration. Folk songs should not be an end in themselves, but a tool in the hands of a Vaughan Williams or a Chopin for the highest realization of their possibilities. Nationalism in music is for him a fallacy, since music is so universal as to be above political cr even...
Bennett's clients are aware that his smart variations, his rich counterpoint, will do wonders for the simplest song, but until lately none of them bothered to put his name on the program. They changed their ways when serious musicians started praising his talent. The fact that Bennett can sit down at a drawing board, turn out 80 pages of orchestration a day while his wife reads to him or plays the radio, will seem less significant to laymen than a list of the current shows he has had a hand in. He prepared most of the scores...
...Croydon, England, before the Bishops of Croydon, Guildford and Norwich and 2,700 English & Irish bell ringers. Chicagoans inside & outside the chapel last week heard Carilloneur Lefévere, imported from Manhattan's Rockefeller-built Riverside Baptist Church, play "Now Thank We All Our God," a spot of counterpoint by Handel, "Annie Laurie," a Welsh folksong arid an ancient hymn from the Low Countries, home of the carillon...
...Sweet Adeline, The Cat and the Fiddle) have profited by Composer Robert Russell Bennett's orchestrations. Composer Bennett, collaborating now on an opera with Critic Robert A. Simon of The New Yorker (TIME, May 23) uses few superficial tricks but he goes underneath the songs, inserts inner voices, counterpoint. He orchestrated Of Thee I Sing for George Gershwin, Face the Music for Irving Berlin, The Band Wagon for Arthur Schwarz, all Broadway hits...