Word: lyrical
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Dates: during 1960-1969
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...show is about extrasensory perception, but the trouble is clear to any one with ordinary perception: Lerner has been dragging his feet. When he works, the poor man works hard, to be sure. He sometimes stays up all night to get a single line for a lyric. He has spent two weeks on one couplet. It can take him months to write the words to an entire song. Then he hands it to Rodgers-who demoralizingly creates a finished tune in 20 minutes...
...work. Poet Marianne Moore laments that she "never knew anyone who had a passion for words who had as much difficulty in saying things as I do." Boris Pasternak (described as looking "at the same time like an Arab and his horse") believes it is "no longer possible for lyric poetry to express the immensity of our experience. Life has grown too cumbersome, too complicated." Venerable Ezra Pound, 77, "stuck" and unable to finish his epic Cantos, says, "The question is. am I dead?" Katherine Anne Porter gloomily concludes, "Misunderstanding and separation are the natural conditions...
...this production, the storm rises and falls, and the whole becomes a sort of huge stichomythic dialogue between Lear and Nature rather than a ludicrous replica of a lyric tenor trying to sing over an unyielding Wagnerian fortissimo. Yet further experimentation with these scenes can probably make them still better...
...know two who preceded him: my husband, Ray Evans (lyric writer), and his collaborator, Jay Livingston (composer), who wrote such un-Indian songs as Mona Lisa, Buttons and Bows, Tammy, and Que Sera Sera. Lined up with their three Oscars are two peace pipes which they smoke after they argue about their pentameters and their pianissimos. They were taken into the Seneca Tribe of New York State about twelve years ago as Chief Words-Come-Easy and Chief Flowing Rhythm...
...four symphonies already behind him, Henze turned up in New York last week for the world premiere of his Fifth Symphony, commissioned by the New York Philharmonic for its first season at Lincoln Center. The Fifth is Henze's Roman symphony, marked by a synthesis of fragmented lyric themes and rich moments of atonality in which Henze expresses "the sensual conflicts, happenings and joys that the modern, sensually-pleasing Rome suggests." Scored for an orchestra that omits clarinets and bassoons in favor of two pianos and two harps, the music is punctuated with tyrannic claps of the kettle drums...