Word: magical
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Dates: during 1960-1969
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Forcing all seniors to finish their theses once the magic November deadline has past might actually have destructive effects. Denied an escape route, many seniors might prefer to take a CLGS in the beginning rather than risk being punished for their daring. Also, some theses which probably should not be written will waste the time and money of both students and departments...
HINDEMITH: SYMPHONIC METAMORPHOSES ON THEMES BY CARL MARIA VON WEBER (Wilhelm Furtwängler conducting the Berlin Philharmonic; Deutsche Grammophon). Choreographer George Balanchine composed his Metamorphoses to this music: beetlelike creatures eventually turn into birds. Furtwängler, an early champion of Hindemith, calls upon his own powerful magic to translate the themes into various musical modes, from unsettling nervous buzzings to biting jazz. On the other side, Furtwängler conjures up a more peaceful succession of Metamorphoses, also written in the 1940s, by the 81-year-old Richard Strauss...
Only a few weeks ago, the bears were out and growling on Wall Street. The Dow-Jones industrial average faltered after a sustained rise that had sent it smashing through the magic 800 mark; in the sharpest daily decline since the assassination of President Kennedy, it dropped 6.77 points in one day. As the bears saw it, this was the start of the major shake-out they had been expecting all along: it was time to dig in for a slide to well below 800. But the market barely gave them a passing nod before it turned around and galloped...
...book closes with chapters on "Tradition, Style and the Theatre Today" and "Actors and Audiences" which deflate the theatre of the absurd and at the same time remind us that drama is a matter of living moments more than philosophy. "Nothing can compare with the magic of the real occasion," he concludes, "which is to me the true glory of the ephemeral art of the theatre--the living actor appearing before the living audience; the silence, the tension, the entrances and exits, the laughter and applause, the subtle changes between one night's performance and another's." Gielgud writes about...
...occasion the actors shrink before the magic of the Loeb Disneyland. The production is extraordinarily large and elaborate, and one could question some of its lushness. The stage area itself, for example, is too big and pushes too far into the audience. The music and the costumes are also a bit overdone. But quibbles disappear in the face of the storm scene which opens Part II. Lightning suddenly flashes across the huge arena, revealing a Bergmanesque figure against a ridge, and thunder crashes out of every amplifier. The noise continues too long, but the whole effect is tremendously impressive. Donald...