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Word: mendelssohns (lookup in dictionary) (lookup stats)
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...Hawthorne" Ives unleashes all his powers of satire as he incorporates Debussy-like ragtime, fragments of Protestant hymns, and purposely misharmonized American bombast -- "Columbia, the Gem of the Ocean," for example--into an acid brew that recalls the "This Scherzo Is a Joke" movement of the Piano Trio. Mendelssohn and the Beethoven Fifth make their appearance in "The Alcotts," a merciless parody of all the cliches of nineteenth-century musical sentimentality. Of the four, the "Thoreau" movement is the kindest to its namesake. Its big surprise is the sudden addition of a lyrical, low-register, and entirely unseen flute. Monday...

Author: By Robert G. Kopelson, AT PAINE HALL MONDAY NIGHT | Title: Easley Blackwood | 5/3/1967 | See Source »

Sullivan's music may be warmed-over Mendelssohn, but this Yeomen was anything but warmed-over Gilbert and Sullivan. As usual, the players took a work that is generally regarded as a museum piece and made it into living musical theatre...

Author: By Robert G. Kopelson, | Title: The Yeomen of the Guard | 4/22/1967 | See Source »

...Clown on bassoon: He is a practical joker. It figures, say fellow musicians, because anybody who takes up such a contrary and ridiculous instrument must have a sense of humor. Ever since Mendelssohn made the bassoon a buffoon in a clown march, the bassoonist has been trying to prove that the instrument is a gentleman or at least a pagliaccio, a clown with a soul. But nobody believes...

Author: /time Magazine | Title: Orchestras: Psychic Symphony | 2/17/1967 | See Source »

...MENDELSSOHN: ELIJAH (Angel). In a superb recording, Sir Malcolm Sargent conducts the Royal Society Orchestra in highlights only, but the cuts are not really missed: Sir Malcolm wisely opts for the graceful Mendelssohnian airs; Soprano Elizabeth Harwood gives a limpid account of "Hear ye. Israel"; John Shirley-Quick delivers "Is not his word like a fire" in an opulent basso style. The only low points, in fact, are the hammer-heavy choruses, which remind the listener that this florid form was not really suited to the urbane Mendelssohn, and that when he essayed heroism he often made only noise...

Author: /time Magazine | Title: Television: Jul. 15, 1966 | 7/15/1966 | See Source »

...JULIUS BAKER, 52, first flutist of the New York Philharmonic, last week played the intricate trills in Mendelssohn's oratorio Elijah as casually as another man might whistle for a taxi. A plump, dapper, matter-of-fact chap who looks and acts like a prosperous dentist, Baker is short on temperament but long on technique. He is the supreme mechanic of his instrument, and he produces what is surely the most glorious tone that ever came out of a flute: big, round, cool, white, radiant as a September moon...

Author: /time Magazine | Title: Instruments: Flute Fever | 3/11/1966 | See Source »

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