Word: gabrielic
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...great monastery of El Escorial near Madrid, in the mid-1700s, a young Spanish priest named Antonio Soler used to teach music to His Most Serene Highness the Infante of Spain, Don Gabriel de Borbón. For the Infante's further diversion, Father Soler specially composed six sprightly duo-organ concertos. At their first U.S. performance last week, by Organist E. Power Biggs and Composer-Harpsichordist Daniel Pinkham, the concertos proved just as happily diverting to a modern audience as they must have been in Don Gabriel...
...Vienna, one of Koch's most efficient killers, a 52-year-old former SS master sergeant named Josef Gabriel, faced justice for wholesale murder in Galicia. Early this month, to escape trial, Gabriel had hurled himself from a third-floor courthouse landing, but he survived to hear witnesses describe how he held Jewish children under his arm while blowing their brains out with a pistol. Likely sentence: life imprisonment...
...Gabriel's Gab. As is proper for the hero of his own story, Behan went to his hard school in obedience to family tradition; like his father before him, he was a member of the Irish Republican Army. At 16, in 1939, he traveled to England with the intention of blowing up the battleship King George V. After less than a week and nothing blown up, British po; lice caught Brendan with the explosive goods on him in a Liverpool slum tenement. At Borstal, one of the "screws" (warders) showed a keen sense of British affection for unsuccessful revolutionaries...
Several qualities combine to make Bad Boy Behan's book a pleasant exception in the usually dreary field of schoolboy or prison reminiscence. He has Gabriel's own gift of the gab, a cold eye for himself, a warm heart for others, and the narrative speed of a tinker. On the whole, he also makes good his claim to "a sense of humour that would nearly cause me to burst out laughing at my own funeral, providing...
...great lesser-known works of choral literature is the Requiem of Gabriel Faure. Written near the end of the 19th Century, this hauntingly beautiful score stands apart, almost completely detached from the influences of the late Romantic era. It is a brooding, restless piece, characterized by tentative, unresolved progressions, chromatic exploration, repeated figures, and a limited but unusual harmonic scheme. Above all it illustrates Faure's extremely delicate feeling for both line and texture, his carefully balanced sense of structure and climax...