Word: gluck
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Dates: during 1960-1969
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...then the Crimson's zone defense began to wilt, B.U.'s Steve Pugatch (who had 25 points for the night) drove in for a hook shot, Randy Robinson scored on a drive, and Larry Gluck swished a 25-foot bomb, John Scott sank two foul shots for Harvard, but B.U. came right back with two quick baskets. Harvard led, 73 to 71, with 13 seconds on the clock...
...French priest: "A solemn Mass in Latin-that for me is true opera." Western opera was born during the Renaissance, probably as an attempt to recreate Greek drama with its choruses and chanted poetry. From the first, the creators of opera felt the urge to avoid artifice. Christoph Willibald Gluck (1714-87) said that it was silly not to have "realistic" characters in opera-so he created Orfeo and Euridice, with their set, face-front arias. Bellini (1801-35) and Donizetti (1797-1848) thought Gluck's characters were insufficiently real-so they created the stylized Norma and Lucia. Wagner...
MUSIC FOR GLASS HARMONICA (Vox). "Glass music" was long in vogue: Gluck performed a "concerto upon 26 drinking glasses, tuned with spring water": Benjamin Franklin devised a popular "armonica," played by rubbing the edges of glass bowls. Bruno Hoffman has created his own 20th century instrument of tuned glasses to revive the literature and plays here works by Mozart and his contemporaries, setting the distant ethereal sounds adrift above flutes and violins...
This style set the "basic potential of dramatic expression in music" which all later composers accepted, Schrade claimed. He called Gluck's attempts to reform this style "fruitless discussion," and said that in Wagner's music dramas "unbridled passion still remained the basis." If Mozart did not write a "full-blown" tragedy in Don Glovanni, the opera at least "betokened the features of tragedy" because "no sharp bound can be set where comedy ends and tragedy begins...
...soprano is absolutely enormous, solid and brilliant throughout its considerable range, but especially stunning at the top. Mme. Crespin launched into the treacherous Gluck aria with no more visible effort than if she had been singing a Faure chanson. She did, in fact, sing some Faure later in the program, and very nicely, too, but my grosser sensibilities craved another of those absurd and wonderful scenas for dramatic soprano something like "Ozean, du Ungeheuer" from Weber's Oberon...