Word: lulu
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Dates: during 1960-1969
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MASTERS OF POP: INNOCENCE, ANARCHY AND SOUL (ABC, 9-10 p.m.). This rock special features the talents of Lulu, Julie Driscoll, Brian Auger and The Trinity, Lance LeGault, Chris Farlowe, Don Lang and Lonnie Donegan...
...their tight structure) reflects his individuality. An acknowledged egotist ("And you can be sure, as I grow older I will become even more so"), Boulez possesses a blazing aphoristic gift for denouncing all those who do not agree with him. On everyone who writes opera today: "Since Wozzeck and Lulu, no opera worth discussing has been composed." On the Paris Opera: "Full of dust and dung." On the French musical community, which he left in 1959 to settle in Germany: "There is more stupidity there than anywhere else." On the verbiage of conductors who talk too much: "Sheer hocus-pocus...
...this in a new voice of polychromatic sounds of momentary durations. The fluid immediacy of impresssonism and the starker psychology of expressionism began to lose their distinctiveness and prove permeable and complementary. The last magnificent statements of the musical expressionistic esthetic were Alban Berg's operas Wozzeck (1921) and Lulu (1935), and his Violin Concerto (1935), an elegy written upon the death on Mahler's daughter Manon. The neurasthenic romanticism of Mahler was transmuted in these works to a testament and a valedictory. The plasticity of musical idioms was clearly responding to a mellower comprehension of what had happened...
...plunged right into one of Ring Lardner's You Know Me, Al baseball stories. As soon as she could get the magazine away from him, Mom settled comfortably with a mystery serial by Mary Roberts Rinehart, which inevitably began, "Had I but known. . ." The kids giggled at Little Lulu's cartoon antics. And of course everybody could enjoy the latest Scattergood Baines episode or grin wryly at the gas-station attendant on the cover - absentmindedly ogling a pretty woman driver while the gas tank he has filled overflows...
EVELYN LEAR AND THOMAS STEWART: ROMANTISCHE DUETTE (Deutsche Grammophon). This recording unites the husband-and-wife team in a sedate but romantic hoedown. Evelyn Lear, most noted for her flamboyant version of Berg's violently atonal Lulu, becomes a demure turtledove in Schumann's Fair Little Flower. Thomas Stewart, memorable for his dour and doomed Wotan, pours out Stephen Foster's Hard Times Come Again No More with as much authority as any cotton-pick-in' baritone in the business...