Word: idioms
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Dates: during 1990-1999
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...instrumental indicationsin the fall of 1992, two months before Albert's death. Composer Sebastian Currier deciphered the manuscript and added missing dynamics. A smaller, more compact work than RiverRun, the three-movement, 20-minute symphony, as conducted by Hugh Wolff, attests to Albert's command of the post-Romantic idiom. A soaring arch, it consists of two slow movements framing a biting central scherzo, and it is full of Albert's trademark evocations of musical forebears. It opens, for example, with a motive for two clarinets, twined in thirds, that recalls Wagner, and along the way there are echoes...
...George Amberg has written of "L'Avventura," Antonioni's characters are "failing without access to the reasons." In the American idiom, Joan Didion wrote in the late '60s of the young hippies of Haight-Ashbury that they were "waiting to be given the words...
...there was ever a Miss America worth cheering -- or crying -- for, she would appear to be the one. But deaf viewers, although thrilled for one of their own, noticed that beyond the well-known gesture for "I love you," Whitestone made no use of American Sign Language, the primary idiom of over half the country's profoundly deaf citizens, whose number may reach 2 million. In fact, comments by the new queen on ASL and deaf pedagogy may make her controversial, in a community where linguistics and education are issues more fraught than those of religion, money or sex. Should...
Joplin believed passionately that neither the idiom of a composition nor the setting in which it was played had anything to do with its quality -- and that race had nothing to do with quality whatsoever. "What is scurrilously called ragtime is an invention that is here to stay," he wrote in 1908. "Syncopations are no indication of light or trashy music, and to shy bricks at 'hateful ragtime' no longer passes for musical culture." In an age when the quest for "diversity" has turned into a form of cultural apartheid, Joplin's achievements and values serve as a reminder...
...opera singers have ever seemed so convincing -- and comfortable -- in the Broadway idiom. Upshaw begins with four songs of yearning for love: the album's title number, taken from Blitzstein's 1959 Juno; There Won't Be Trumpets, a song dropped from Sondheim's short-lived 1964 show Anyone Can Whistle; What More Do I Need?, from an unproduced Sondheim musical of 1954, ! Saturday Night; and That's Him, from Weill and Ogden Nash's 1943 One Touch of Venus. Accompanied alternately by small ensembles and an orchestra, Upshaw stakes her claim as theater music's most luminous ingenue since...