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...shame that Carl Schlaikjer did not receive credit in the program listings for his oboe d'amore playing. It was a display of virtuoso caliber remarkable for its sensitivity of phrase and quality of tone. The instrument's sound filled the church in beautiful counterpoint to the alto-tenor duet...

Author: By Kenneth Hoffman, | Title: Choral Evensong | 10/31/1973 | See Source »

Eban: If you're talking about guarantees in a peace settlement, let's eliminate some illusions. The major powers [including the U.S.] apparently don't intend to commit their forces to the Middle East. The U.N. is an arena for waging conflicts, not an instrument for solving them. It cannot "guarantee" anybody's security or take a single step without Arab consent. Israel's guarantee must be its own strength as well as secure boundaries that permit her to absorb an attack without being destroyed...

Author: /time Magazine | Title: DEBATE: Another Round in the War of Words | 10/29/1973 | See Source »

Sailor-Poet. But according to Day, young Lowry was not just a budding aesthete. After losing his baby fat, he turned into a credible rugger player, a strong swimmer and an excellent golfer. He wrote jazz songs and played the ukulele, an instrument that accompanied him all his life. He even spent a year as a deck hand aboard a freighter (driven to the dock in the family Rolls). Upon his return he entered Cambridge, where he played the experienced sailor-poet, began work on his first novel, Ultramarine, and started serious drinking...

Author: /time Magazine | Title: Books: The Misadventurer | 10/29/1973 | See Source »

Sack, also the author of M, was not out to hang little "Rusty" Calley with his own words. Quite the opposite. The intention was to show that Calley was what Sack now calls a "brass instrument" through which the order to execute My Lai villagers was trumpeted. The blame is then pinned on The System, of course...

Author: /time Magazine | Title: Books: Cog Ergo Sum | 10/22/1973 | See Source »

ROBERT PORTNEY, violin soloist in the Tchaikovsky, was not helpful to the ensemble. He appeared lost in indifference when not tuning his instrument (during several orchestral passages) or playing solo. His technique is impressive and certainly of professional caliber. His very mastery might cover up for the cavalier attitude he held toward an audience he apparently felt was not up to New York concert standards. Coming to a dead stop in the middle of the first movement cadenza, Portney explained that it was hot (more than obvious to everyone in the room) and that he wished to tune the violin...

Author: By Kenneth Hoffman, | Title: Concerto Program at Kirkland | 10/17/1973 | See Source »

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