Word: modern
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Dates: during 1980-1989
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...almost inevitable: a TV anchor trying to play modern-day power broker, using split-screen technology to seek the deal that had eluded Paul Kirk. First pairing Dukakis and Gephardt, Koppel relentlessly bored in: "Governor, would you accept the Congressman as your running mate if he would endorse you?" Dukakis answered with characteristic caution, "I would % certainly consider Congressman Gephardt, as well as Senator Gore, along with many other fine Democrats." Suddenly Gephardt was gone, and Gore was on the split screen. "Senator," Koppel intoned, "would you accept the vice presidency?" Gore remained unruffled as he answered...
Robert S. Brustein, the artistic director of the American Repertory Theatre (ART) and instructor of English 163, "Post-Modern Drama," received the George Jean Nathan Award for Dramatic Criticism for his recent book, "Who Needs Theatre," a collection of writings on theatre that originally appeared in The New Republic...
...were venturing onto, but the terra incognita of Hector Berlioz, the virtuoso French composer who in the 1830s revolutionized symphonic sound in such works as the hallucinogenic Symphonie Fantastique and the blazing choral symphony Romeo et Juliette. "Our goal is to present a view of Berlioz very different from modern received opinion," Norrington told the audience before the performance. "We're not like a symphony orchestra playing notes. We only play poetry here...
When the music is played by a homogenized modern orchestra, its raw power is sanded away along with its rough edges. Hearing it is like watching a colorized film: the superficial enhancement is more than offset by the loss of nuance and detail. But on early instruments, the flutes purr, the oboes squawk, the brass barks, and the strings alternately cajole and bite. "This is not a pureed, strained cup of tea that you might drink in the back of a limousine," says Norrington. "This is a bracing beverage quaffed in a well- sprung vehicle...
...until he conceived his "Experiences" three years ago (first Haydn, then Beethoven) that the Oxford-born, Cambridge-educated musician achieved his current eminence. Norrington's contribution to the original-instruments movement is to push its boundaries forward from the Baroque and Classical periods into the mid-19th century. "Modern orchestras sometimes don't play Beethoven very well," he observes, "but they generally play Berlioz very well indeed. So it was a real risk...