Word: familiarization
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Dates: during 1960-1969
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RAVEL: DAPHNIS AND CHLOË, SUITE NO. 2, and ROUSSEL: BACCHUS AND ARIADNE, SUITE NO. 2 (RCA Victor). For his first recording with the Chicago Symphony Orchestra, new Conductor Jean Martinon chose flashy and familiar works-two Dionysian ballets by fellow Frenchmen. Orchestra and conductor show up well, from the airy pianissimos that signal the break of day in the Ravel to the wildly pounding bacchanalia that climax the Roussel...
There were the familiar complaints about the computerized life. Poet James Dickey warned at California's San Fernando Valley State College that, on the edge of the "anonymous modern abyss, you must develop your private brinksmanship, your strategies, your ruses, your delightful and desperate games of inner survival, whether they take the form of Batman comics or whistling Handel's Water Music, enabling you to live perpetually at the edge but very much on your own ground." It was Yale's President Kingman Brewster who perhaps best expressed the mood of the commencement speakers. After warning against...
DEAR HEART AND OTHER SONGS ABOU LOVE (RCA Victor). Henry Mancini has for writing songs that become in stantly familiar. Like (I Love You and) Don't You Forget It, in which "I love you" is repeated 22 times, and Dear Heart, a sentimental waltz that has become this season's must for crooners. Composer-Conductor Mancini's first all-choral al bum is a meticulous blend of voices with orchestra, suitable for his own gentle concoctions but too tame for the Beatlemamc Can't Buy Me Love...
...Fidel but to Abraham Lincoln, whose likeness appeared below his famous admonition: "Se puede engahar a todo el pueblo parte del tiempo, se puede engahar a parte del pueblo todo el tiempo, pero no se puede engahar a todo el pueblo todo el tiempo." The lines-more familiar to Americans as "You may fool all of the people some of the time," etc.-were obviously meant to refer to the Yanquis. Cubans may just possibly apply them to someone else...
...sculpture, Giacometti's work would be old hat. But, as Manhattan's Museum of Modern Art opens a retrospective of 140 works this week and London's Tate Gallery prepares another exhibition for July, Giacometti seems less tormented than an observer of a disjointed, brisk and familiar world. It is a world that, for all its grotesque attenuation, testifies to a robust, humanistic vision. The pessimism of a previous era, which colored his art grey, may no longer apply...