Word: humors
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Dates: during 1960-1969
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Following the probing harmonic and contrapuntal explorations of Gesualdo, the madrigals of Luca Merenzio sounded a bit parochial and stay-at-home. Yet his two villanellas for three voices offered a great and rarely heard texture: soprano, counter-tenor, and basso. (Counter-tenor Carlo Tosti's sense of humor was, incidentally, crucial for the success of several of the Banchieri and Marenzio madrigals...
With Pete Seeger gone, Lee Hays is certainly the outstanding individual artist in the group. Despite a bad cold Saturday, his resonant bass voice and his physical immensity gave both color and humor to the performance. Serving as emcee, he kept the concert moving with droll introductions...
That anonymous masterpiece typifies the current brand of topical and political humor as practiced in a growing number of U.S. nightclubs, a form opened wide by acerbic Mort Sahl and still growing in popularity from Manhattan's Greenwich Village to San Francisco's North Beach. Even in Washington, where political humor has heretofore been of the unconscious kind, four night spots are now flourishing with topical jokesters. Manhattan's The Premise has just opened a Washington outpost, where distinguished audiences (including, on occasion, Vice President Lyndon Johnson, Senators Hubert Humphrey, Mike Mansfield, Kenneth Keating, "Scoop" Jackson) have...
...good memoir it is the man, not the times, whose flavor dominates. Hickey, neither as deep as Boswell nor as intense as Casanova, still was something other than a fool with a strong constitution and a good memory. He had no malice and little self-deception, much humor and courage. While Portuguese sailors caught in a hurricane might, as he reported with British condescension, abandon their sails and flock round their priest, he himself had the perseverance that built an empire: "When, as was sometimes the case, I felt the wine disposed to revolt, chewing two or three French olives...
...more enjoyable was the Beethoven C minor quartet, Op. 18. Although among Beethoven's first batch of string quartets, this quartet shows the vigor, delightful humor, and insistence on making the instruments serve the music that characterizes Beethoven's later quartet writing. The liveliness of the work seemed to wake up the performers; they started with good, solid attacks and supplied plenty of dynamic ups and downs. Cellist Lawrence Hamilton's full tone and adequate technique supplied a foundation to the ensemble, and second violinist Gretchen Anner played her solo in the trio of the third movement accurately, if without...