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...home cut further into the dreams of their time. Schnorr von Carolsfeld's entwined lovers jump from a cliff, in erotic slow-motion; romantic fascination with the "inseparability" of love and death was never put more concisely than in this smooth, slick image of sexual harakiri. Johann Hummel transformed a granite bowl, erected in the Berlin pleasure gardens, into an object as disquieting as a flying saucer: with fanatical precision, the tiny reflections of passers-by are caught in its mirror-polished surface, twisted and topsy-turvy, as though Magritte had been let loose...

Author: /time Magazine | Title: Art: Vision Group from the Backwater | 11/23/1970 | See Source »

Philharmonic No. 3 felt free to mark its debut with a novelty-packed program: the Beethoven Fifth (which New York had heard only once before), arias from Weber and Rossini operas, and assorted works by composers who ranked among the innovators of the time, including Johann Nepomuk Hummel and Johann Wenzeslaus Kalliwoda. Founded by the eccentric but talented violinist-conductor Ureli Corelli Hill, the orchestra gave only three concerts its first year. It charged the astronomical price of $1.11 a ticket (the going price for 20 Ibs. of beef). Unlike the Vienna Philharmonic, though, which was founded the same year...

Author: /time Magazine | Title: Orchestras: Revival at the Museum | 12/15/1967 | See Source »

...indifference of students at Olinger (read Olympus) High, and the casual thunderings of its Principal Zimmerman (read Zeus). He is, moreover, tormented by the teasing lechery of Vera (Venus), the gym teacher, and the unreliability of his old Buick, which must be fixed by Vera's husband Hummel (Hephaestus), a cuckolded garage keeper...

Author: /time Magazine | Title: Books: Prometheus Unsound | 2/8/1963 | See Source »

...literature of morality is the dramatic relationship between the play per se and the audience. The play is not "lopsided, shambling and confused" if we enter into it with the same lack of knowledge that the Student demonstrates in the first scene. Like us, he wavers between condemnation of Hummel for the heinous sins done to his father and sympathy for the Old Man because of the telling presence of his mortality, the moments when decay and ruin reduce Hummel to a state of absolute dependency on the understanding of at least one human being--in this case, the student...

Author: NO WRITER ATTRIBUTED | Title: ON STRINDBERG | 11/20/1962 | See Source »

...slipping so easily into convenient beliefs about Good triumphing over Evil (Mummy defeats Hummel) or explanations like the mechanical one of the third scene with relation to the Cook, a critic reveals something more about his own modes of perception than he does about Strindberg's intentions, "fantasies and obsessions." In this sense, he both misses the truth of the play, and, by this very fault, proves its validity. We so much the more belong to Strindberg's configuration by every insufficient and damaging appraisal we make of the appearances before us. Thomas J. Babe, Jr. '63, Director, "Ghost Sonata...

Author: NO WRITER ATTRIBUTED | Title: ON STRINDBERG | 11/20/1962 | See Source »

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