Word: much
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Dates: during 1960-1969
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Miss Hemphill said that she didn't "anticipate fighting the police." If the Sheriffs see a lot of people there they might avoid violent eviction proceedings, and the BRA might offer the families much better relocation opportunities than have been presented in the past, she added...
...graduate students and chaired the Committee on Recruitment and Retention of Faculty, which up graded the junior titles and asked higher salaries. He even moved out of spacious Littauer into the cramped basement of 1737 Cambridge, chiefly from his suspicion that junior faculty over there were keeping too much to themselves...
...only convulsively appealing. If he is given any credit at all, which rarely happens since people prefer summary condemnation to critical acceptance of monumental genius, it is as an influence on Mabler and certain of the later expressionist composers. But Bruckner can be dismissed as easily, and with as much in telligence, as can Beethoven or Chartres Cathedral. This image of an uninspired symphonic rhetorician of beleaguered loquacity, "tortive and errant" as Shakespeare's Agamemnon, must yield to a clearer portrait of a consummately endowed symphonist firmly in the classical tradition...
...same sustenance of spiritual and intellectual resolution, which he found in classical sonata form. His music proceeds with the deliberateness, comprehensiveness, mystical assurance, and formal clarity of the Mass. His symphonies are celebratory but never indulge in an easy rapture of tonal staleness or facile dramaturgy. Mahler learned much from Bruckner, primarily thematic linking of unprecedented subtlety among movements, the proliferation of material in the second thematic group, the immediate juxtaposition of radically differing elements (here Mahler extended Bruckner's simpler process of motto-lyrical oppositions to ironic commentary on all materials), and the greatest lesson of an enormously expanded...
...with Stravinsky's pivotal Movements for Piano and Orchestra (1959), with Harvard's Luise Vosgerchian as soloist. Octandre, for seven winds and contrabass, seemed individual but not highly original, consisting of some explorations of the percussive possibilities of wind articulation, propulsive rhythms, and generally uninteresting timbres. The piece seems much less provocative than the contemporary experiments of Hindemith, Bartok, Schoenberg, and Cowell. The Movements, however, a strictly twelve-tone piece, is characterized by pellucid, crystalline registration, pointillistic rhythmical control, and Stravinsky's unique unsentimental lvricism. This work linked Threni and Agon (1956), a supreme masterpiece, to the later Sermon, Narrative...