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...were Composer Macero's Polaris, a virtuoso piece for French horn and orchestra, which gives the horn a chance to indulge in all the odd wiggles, slides and quirks it is capable of, and Arnell's Concerto Capriccioso, marked by rich string harmonies and a delicate interplay between the solo violin and the winds. Privately financed, the Music-in-the-Making concerts feature question periods during which the audience is invited to quiz the composers. Asked one listener after hearing Polaris: "Was this work written for or against the French horn...

Author: /time Magazine | Title: Music: Custom Concerts | 2/1/1960 | See Source »

...inspirations was the warm and simple faith of the Mennonites. who taught direct recourse to the Bible, and the mystical writings of Jacob Boehme, who constantly employed the symbolism of light for good and darkness for evil. Some scholars maintain that Rembrandt's characteristic and unsurpassed dramatic interplay of light and shadow stems from Boehme...

Author: /time Magazine | Title: Art: HIDDEN MASTERPIECE: Kassel's Rembrandt | 1/4/1960 | See Source »

Yamasaki took advantage of a long convalescence to go to Japan. He was captivated by what he saw in its architecture: the interplay of light and shadow, the union of building and garden. He came back to cast a jaundiced eye on the serried ranks of glass boxes rising along the main streets of Manhattan and other major cities. "Our life gives promise of being spent in look-alike houses, look-alike automobiles and look-alike buildings," he warned his fellow architects...

Author: /time Magazine | Title: Art: Serenity & Delight | 9/14/1959 | See Source »

Gnoli's strength is double-edged: he knows how to represent what he sees sharply and solidly; also he knows how to design. Light and darkness, tension and repose, surface textures and deep space all interplay with the stories his pictures tell...

Author: /time Magazine | Title: Art: Double Draftsman | 6/1/1959 | See Source »

...peace treaty, Russia's cynicism was justified. Khrushchev wanted only a summit: Eisenhower agreed that Khrushchev ''is the only man who has ... the authority to negotiate." The proxies, their homework done, gathered in Geneva before a thousand staring cameras, with no high hopes. The very first interplay-over tables round or square, over Germans at the table or beside it (see below)-was the kind of picayune fuss that discredits the whole practice of diplomacy. The quick-witted journalists surrounding the closed room, flitting from one briefing to another, comparing notes, were agreed on one thing: that...

Author: /time Magazine | Title: GENEVA: What's the Use? | 5/25/1959 | See Source »

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