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Word: franz (lookup in dictionary) (lookup stats)
Dates: during 1970-1979
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Usage:

...common attitude toward German expressionist artists like Emil Nolde, Ernst Kirchner, Franz Marc, Karl Schmidt-Rottluffor Max Pechstein used to be that their work was a talented but provincial response to French Fauvism...

Author: /time Magazine | Title: Art: Last Twitch of German Romanticism | 9/16/1974 | See Source »

...Tended," because some of the artists also had a pronounced mystical streak -Franz Marc, for instance, and others in the "Blue Rider" group that formed around Kandinsky in Munich just before World War I-while others, like Paul Klee, were pure fantasists...

Author: /time Magazine | Title: Art: Last Twitch of German Romanticism | 9/16/1974 | See Source »

Bouncy Spirits. The pity of it is that Franz did have talent. Last week in New York at Lincoln Center's Mostly Mozart Festival (Wolfgang Sr., that is), listeners got a rare chance to hear Franz's Piano Concerto No. 2 in E Flat, Op. 25. The soloist was the eminent Gary Graffman, that master of diverse styles for whom the score was reconstructed and edited from the original edition by the New York composer and musicologist Douglas Townsend...

Author: /time Magazine | Title: Music: The Giant's Son | 9/2/1974 | See Source »

Apparently written in 1818, when Franz was 27, the work shows the unmistakable influence of the concertos written by the elder Mozart a generation before. But then so did most everything written in the post-Mozart era. What is interesting about Franz's concerto is the way it has absorbed some of the innovations of Beethoven and Weber and gone on to anticipate some of the expressive, warm-blooded styles that would be heard later from the leading German romantics. There is a point in the first movement, for example, when the piano becomes a discreet accompanist (arpeggios mostly...

Author: /time Magazine | Title: Music: The Giant's Son | 9/2/1974 | See Source »

Obviously, Franz knew his trade and all the latest trends. The Concerto in E Flat (one of his father's favorite key signatures, by the way) makes up for a certain lack of profundity with its bouncy good spirits and melodic charm. Franz performed it frequently as a concert pianist, and if he was able to bring it off as brilliantly as Graffman did last week, he must have had a first-rate keyboard technique. He also played (and revered) his father's music and quite clearly was burdened by the comparison. Finally he had to get away...

Author: /time Magazine | Title: Music: The Giant's Son | 9/2/1974 | See Source »

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