Word: likes
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Dates: during 1950-1959
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...that the trend to confession represents a risky rise in clerical power that is incompatible with Protestant principles, minimize it as a flash in the pan that flares in the fervor of a Kirchentag and subsides in the cooler air of everyday life. Yet a growing number of clergymen, like Munich's Pastor Adolf Sommerauer, see a strong and rising tide. "There are those who worry that confession could become a sort of fad. There is no need to propagate it. Now that it is known throughout the church that it is available, those who need it can make...
...young musician's reputation had reached the U.S.; Arturo Toscanini wanted a harpist for the Metropolitan Opera Company, and imported him, says Salzedo, "like a piece of cheese." Salzedo stayed at the Met for four years, then organized the U.S.'s first harp ensemble, later set off to tour Europe with a flutist and a cellist. After a stint in the French army in World War I (wounded in action). Salzedo returned to the U.S. and got to work making the harp something better than one of those "extra" instruments rarely heard outside full-dress philharmonic orchestras...
Nijinsky's Complaint. No point of style or appearance was too small for his attention. His friend, famed Dancer Vaslav Nijinsky, once complained that Salzedo did not make enough show with his hand movements. A harpist's hands should be like a dancer's toes, said Nijinsky: "Of all the instrumentalists, you are the one to be looked at when you play." Salzedo formalized hand movements into a series of flowing gestures, tells his students to emphasize esthetic as well as musical qualities. Says he: "Good looks are an important requisite for an aspiring harpist...
...concerto-grosso form (where a group of solo instruments maintains a dialogue with an orchestral ensemble), Corelli was also the first to relax the strict contrapuntal style of his era, is shown in this recording to have mastered the full scope of string sonorities by making violins sound like a full-voiced choir...
Lawyer Reese Parmelee is rich, wellborn, intelligent, young, tall and thewed like an ox. He is fearsome in war and agile in the boudoir. He is, in fact, cast from the same heroic mold as George Washington's bronze horse, and his problems, one would think, could hardly be more trying than shooing away the pigeons of circumstance-tax collectors, importunate beauties, photographers wanting to capture his grandeur in whisky ads. Yet Parmelee broods, and it is a credit to the author that readers are persuaded to take it seriously...