Word: mozart
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...permissible. Stylistically unpredictable and resolutely uncompromising -- there are no "Socialist Realist" elements in his music, no compositions celebrating factories at work or peasants at play -- Schnittke's music is fundamentally deconstructive. It uses the past as raw material for the present, often referring to or quoting directly from Bach, Mozart and other Germanic composers and then tearing them apart in a destructive analytical frenzy that would have terrified Freud. "I attempt to compose symphonies," Schnittke wrote in a program note to his Third Symphony, "although it is clear to me that logically it is pointless...
...clock in the morning at the Science Center, and the computer rooms are teeming with procrastinating computer science concentrators and e-mail addicts. But above the concert of clattering of keys, play Mozart strains--from a radio placed on the security desk...
...Andre Aamodt) and a Canadian (the surprising Ed Podivinsky) won silver and bronze medals in downhill after Moe, while a Russian, Svetlana Gladischeva, edged Italian Isolde Kostner for silver in the women's super-G. In the men's super- G, Markus Wasmeier, a Bavarian who likes to play Mozart on his zither, won the gold, beating Moe and Aamodt, who captured the bronze. The French were despondent when their favorites failed to garner medals, and L'Equipe, the national sports daily, struck back by calling Moe -- who had been expelled from teams as an adolescent for smoking marijuana...
...years at Harvard are mentioned often in the book, as the time in his life when he developed both a love for opera and a sexual awareness. During the interview, he fondly recalls an opera club he formed in North House with a (female) love, and her singing a Mozart aria down a stairwell in Comstock. He also notes that he was quick to transfer to Adams house, finding North to be a dead end romantically and socially. He also reaffirms the impression given by his book that his musical life at Harvard was much richer than his erotic life...
...possesses one of the loveliest voices in opera today. Thanks to her supple, dulcet soprano and winning stage personality -- and with the powerful patronage of Met artistic director James Levine -- she has risen to worldwide fame in secondary roles that ordinarily do not make stars, parts like Zerlina in Mozart's Don Giovanni and Sophie in Strauss's Der Rosenkavalier. Battle's presence in a cast or with an orchestra practically guarantees a sold-out house; her albums, whether art songs or spirituals, are consistent best sellers...