Word: hymning
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West Side Story, the 1957 Broadway musical about two warring teenage gangs, ends in a hopeful hymn to togetherness: "We'll find a new way of forgiving, somewhere." In the years following, that magical somewhere became in reality a sad nowhere of hard drugs and forgotten loyalties. Now, however, the gangs are back on the streets with a vengeance born of a decade of upheaval. The battleground is no longer Manhattan's West Side but the Southeast Bronx, a predominantly Puerto Rican ghetto where more than 70 "cliques" or "organizations" have formed in the past year. The members...
...concentrates instead on the imitations--Groucho Marx, Jack Benny, Shirley Temple and Donald Duck are numbered among this lord's disciples--and the song and dance routines. There is a soft-shoe number (Christ and Judas singing "All for the Best"), a Simon-and-Garfunkeler ("On the Willow," a hymn to crucifixion), and a nice example of that newest of song-types, revival rock ("Day by Day.") Although most of Stephen Schwartz's songs are interchangeable, Godspell avoids the free-formlessness of Hair. From the sight gags to the pantomimes to the chorus line kicks, each bit in this musical...
...crowds just across the street. Demanding an explanation, Hill is informed that the Army has the right to assembly because they are performing music. The next time Joe Hill appears on a soapbox he has his own I.W.W. song in hand -set to the tune of a Salvation Army hymn. People gather around and the police are temporarily thwarted. In another town, Joe goes into a restaurant and deliberately orders a lavish meal that he cannot pay for! Banished to the kitchen to wash dishes, he persuades the help to strike...
...Records issued his performances of the Mahler First and Ninth, and they are still unsurpassed for their particular blend of pathos and playfulness. Recently, Horenstein, 73, has begun recording regularly again with the London Symphony Orchestra and has now produced a lofty version of Mahler's hymn to nature that is more than a match for the honored interpretations by Leonard Bernstein, Erich Leinsdorf and Rafael Kubelik...
...American-born but European-oriented composers. Bubbling in the New Orleans melting pot, however, was a disreputable mix of African, Spanish, French and Protestant revivalist musical influences that would mature into a uniquely American idiom. Black music had wandered away from its African grandparents, picked up a few hymn tunes, worked in fields and on railroads, and been sung to make slavery endurable. Around 1900, in the honky-tonks and whorehouses of New Orleans, it became jazz...