Word: municheer
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Dates: during 1950-1959
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...Dulles. In Bonn, a West German Cabinet minister, while urging more energetic U.S. leadership, added thanks for America's Dulles: "We would rather have a purposeful man than a gambler. The stakes are too great. Dulles is a sober man. He would never go to Munich, as Chamberlain...
...Maria has said yes to none of them. Last week in a Hamburg studio she finished dubbing the German version of a recent film, and then went to Munich for a little holiday with husband Horst. "I've only had three weeks' vacation since I was 18," she says, "and I need a rest. Ach! I don't know where I get the strength." In Munich she likes to lounge among the Barock madonnas that fill her pretty white villa on the fashionable Pienzenauerstrasse. She calls her husband Goldschädtzchen (Little Golden Treasure), and when people...
...tapestry-lined Hall of Hercules in Munich's bomb-battered Residenz palace was packed, and the exquisite prospect of journalistic mayhem was in the air. Grim critics, with knives sharpened and hatchets drawn, were on hand to slice up youthful (31) Karl Richter, regarded by loyal fans as the greatest musical talent of his generation in Germany. Organist-Harpsichordist-Conductor Richter had committed a double crime: irreverence for the mighty Bach and the almighty critics...
...Defying convention, Richter brought a dynamic new approach to his Bach reading. His performances proved so brilliantly illuminating that he was offered the top job in the world of German Protestant church music, Bach's own post of Thomaskantor in Leipzig; Richter refused so he could stay in Munich, where he developed a fine 100-voice Bach choir. Gradually the critics became disenchanted. Richter, they felt, had slipped into sentimentality; worse, he seemed to be reaching too far out for effects and succeeding only in distorting the master. After one disastrous concert, when he tried to branch...
...improvise accompaniments for the recitatives. The critics were disarmed. Richter gave them a joyfully dynamic performance that was nonetheless satisfyingly authentic. Admitting that there were no signs of Richter's previous peccadillos in this concert and genially explaining the old flaws as "growing pains," the dean of Munich's critics, Karl Heinz Ruppel, summed up the concert in one word: "Wunderbar...