Word: lyrically
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...center. On radio, television and in Montmartre cellars, the traditional chansonniers gibe irreverently at De Gaulle's big-power pretensions and the docility of his Cabinet. A favorite target is Premier Michel Debré, who is depicted, not altogether incorrectly, as a puppet and errand boy. One chansonnier lyric has De Gaulle asking Debré the time. Debré's fawning answer: "Any time you like...
Richter's Prokofiev was so strikingly different from that of other pianists that it seemed at first like the revelation of a new musical personality. A longtime friend of the Soviet composer, Richter managed to illuminate the lyric qualities usually obscured by the percussive Prokofiev style. Even in the most frenzied and violent passages-notably during Sonata No. 6, when he flailed the keyboard with a clenched fist-Richter drew forth a tone that was warm instead of strident, as full of shadings as a guttering candle flame. Later in the week Richter offered programs including Haydn, Schumann, Debussy...
...Donna Donna, Miss Baez uses a flowing translation of a lyric song composed by Sholom Secunda for the Yiddish musical theatre. Although it has long been a favorite of Jewish folksingers, and was recorded recently by Theodore Bikel and Martha Schlamme, Miss Baez gives it a delicate, and very personal touch...
...Welt's critic found "almost overpoweringly impressive." Hindemith's own work, musical settings to four long passages from the books of Matthew and Luke in Latin, evoked several strikingly different moods: the first and fourth motets were highly dramatic and rhythmically complicated; the second had the lyric simplicity of folk song, while the third was reminiscent of an Arab mourning song. They displayed, concluded Die Welt, an entirely "new creative impulse...
Exuberant & Witty. Performed by Russia's eminent cellist, Mstislav Rostropovich, and the visiting Leningrad Symphony Orchestra, the 28-minute concerto emerged as a work of compelling rhythms, long, curving lyric lines, exuberantly witty folklike figurations. Although its technical demands were tremendous ("If Shostakovich had written two more bars for the cadenza," said Rostropovich, "I could not have played them"), the acrobatics were not merely contrived, as has been true of so much of Shostakovich's recent work, notably his vapid, bombastic Eleventh Symphony. The concerto, wrote the Sunday Times, presented "a real conflict and a final solution...