Word: listened
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Dates: during 1940-1949
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Like you I listen to every word of the BBC. From my faraway home, I have followed with wonder and despair the events up to and beyond the fall of France...
...arts and sciences must be purified. No more need peaceful, respectable persons listen to the barbaric, Hunnish melodies of Brahms, Bach, Beethoven Mozart, Mendelssohn, Wagner, Schubert, Strauss; no more need our ears be offended at Christmas time by the hellish notes of Stille Nacht, the voice of Schumann-Heink; no more of the militaristic preachings of Schiller, Goethe, Luther...
...completely sensitive to the ensemble attack and phrasing, as the Count's. Remember that with four men Jo Jones on drums, Freddic Green on guitar, Walter Page on bass, and Basie himself on piano--the experiment of using the section as a solo unit was first carried out. Listen to the release choruses on records like Doggin' Around and Jumpin' at the Woodside and see how the four men alone build up the drive for eight eight-bars, so that the rest of the band really jumps when they pick it up. Without the Basie rhythm section, it just wouldn...
...classicism is exemplified perfectly in two of Columbia's November record releases. One of them is the overture to Don Giovanni. This is that famous overture which Mozart wrote the night before the first performance of the opera, while his wife fed him coffee to keep him awake. Listen to the overture, played superbly by Beecham and the London Philharmonic, and I think you will agree that there is something here more than the mere notes; the notes, lovely as they are, serve as a container, a melodic bowl, into which well the emotions of the composer...
...technical imitation. Compare another early Schubert symphony, the Fourth or "Tragic," with its eighteenth-century counterpart, the Mozart G-minor. At first glance the two are strikingly alike. Their plan of construction is almost identical. Both are based on a type of melancholy flowing theme. But if you listen very long to the Schubert Fourth, what seemed its real charm has mysteriously gone up in smoke, leaving only the ashes of a facile, perfunctory exercise in the mechanics of composing. But if you listen again to the Mozart G-minor, you continue, (at least, I do) to be haunted...