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Word: lyrical (lookup in dictionary) (lookup stats)
Dates: during 1960-1969
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Usage:

...times deeply reverent (in the manner of his opera Dialogues of the Carmelites), at times mischievous and almost jazzy. Among its memorable moments: the opening of the second section, "Laudamus Te," with the dissonant cry of French horns followed by the syncopated chanting of the chorus; the movingly lyric third section with its bell-like soprano solo. "Domine Deus"; the quietly majestic ending in a mood of "pity and peace...

Author: /time Magazine | Title: Music: Poulenc's Maturity | 1/27/1961 | See Source »

...children's chorus, to be performed at the opening of Manhattan's Lincoln Center. Both will be "completely, completely, completely different" from what he has done before. "Every age of man has its music," says Composer Poulenc. "Now that I am 62, my music is very lyric and tragic-it is my maturity...

Author: /time Magazine | Title: Music: Poulenc's Maturity | 1/27/1961 | See Source »

...suicidal sacrifice. In Zillig's treatment, the penguins enter the story as a kind of Greek chorus, representing hostile nature, and commenting with pitilessly unemotional detachment on the explorers' plight. Zillig's dissonant score proved to be as stark as the setting, with rare lyric interludes when Oates (Baritone Martin Schmidt) realizes what he must...

Author: /time Magazine | Title: Music: Atonal Antarctic | 1/2/1961 | See Source »

...fewer than 25 new recordings by Paul Anka, Ella Fitzgerald, the Chipmunks, Crazy Otto, Guy Lombardo, et al. By Marks's own testimony, his recently released Rockin' Around the Christmas Tree figures to be another Rudolph. Why? Says Marks, who does both words and music: "The lyric is a masterpiece of writing...

Author: /time Magazine | Title: Music: Christmas Rock | 12/12/1960 | See Source »

...after intermission, with the playing of the final Sonata Opus 111, that Mr. Fischer really electrified the audience. His playing was percussive in the opening torrent of notes; he moved effectively from lyric to appassionato passages; his fingers flew over the keyboard in the long runs and octave passages. I was rather disappointed that he skipped the repeat of the first section, but one cannot expect everything; the remainder of his playing was more than satisfying. It is not easy to play the first section of Opus 111 at all, let alone well, and Mr. Fischer's excellent technique...

Author: By Arthur D. Hellman, | Title: Egbert Fischer, Pianist | 12/7/1960 | See Source »

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