Word: morels
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Dates: during 1950-1959
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...surface, the book (its setting is French Equatorial Africa) tells the adventures of a dentist named Morel who becomes obsessed with the notion of protecting wild fauna from hunters. But Novelist Gary is really concerned with "another animal who needed protection"-man. Elephants to Morel are "the last and greatest living image of liberty that still existed on earth." Man, in the midst of his bad dreams of extinction by nuclear warfare, simply cannot afford to allow a noble form of life to be needlessly slaughtered. Morel has learned his respect for dignity in a hard school-a Nazi concentration...
...names in years. So far, none of their finds is likely to jeopardize the record sales of such old reliables as Jo Stafford and Dinah Shore, but some are well worth a listen. Bethlehem puts its money on Helen Carr (Why Do I Love You) and Terry Morel (Songs of a Woman in Love); EmArcy displays the modern phrasings of Helen Merrill; Storyville has uncovered a sweet-husky voice on Introducing Milli Vernon; Liberty's Lonely Girl exploits its success with Julie London, a talented miss who spends most of the record breathing down the listener's neck...
...Juilliard President William Schuman's revised Violin Concerto, played by Isaac Stern and the fine student orchestra, firmly led by Jean Morel. The concerto moved under a powerful drive (oldfashioned gear shift, not fluid) that led it into some stunning effects of developing tension. The violin was almost continually active, but it was frequently drowned in the tricky accompaniment; before it was over, the work had turned into a fancy juggling...
...with precision and enthusiasm by Conductor Jean Morel, the Juilliard student orchestra began with an eclectic taradiddle called a "Preamble" by Manhattan Composer Bernard Wagenaar, then settled down to serious business: Composer Roger Sessions' Concerto for Pianoforte and Orchestra. It was the second Sessions premiere in four weeks (TIME, Jan. 30), with a symphony and a Mass still to come this spring. Played brilliantly by Pianist Beveridge Webster, the score, to tradition-attuned listeners, was like being sprayed with salvos of molten metal and broken glass. But the salvos were always tightly under control, and the fragments landed...
Offenbach: Le Vie Parisienne (Jennie Tourel; Columbia Symphony Orchestra conducted by Jean Morel; Columbia). A saucy score culled from several operas, with Tourel's fine mezzo-soprano, gaily modernized scoring and fine acoustics...