Word: municheer
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Dates: during 1950-1959
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What cynics have long predicted finally came to pass: abstract art was on sale not by the painting but by the yard. In Munich's fashionable van de Loo Gallery, Italian Painter Pinot Gallizio, 57, did a booming business by snipping his 10-and 20-yard canvases into appropriate lengths. Customers were free to choose according to their needs and pocketbooks; "normal quality" sold for $25 per yd., "more profound quality" for $60 per yd. Leftovers went at a discount...
...heart attack; in London. As Foreign Secretary in 1935, he engineered with wily French Foreign Minister Pierre Laval the notorious pact that surrendered a fifth of besieged Ethiopia to Mussolini. Forced by public outrage to resign, he bounced back to office under Neville Chamberlain, backed Chamberlain's Munich appeasement because he felt it would intimidate Russia. "He passes," someone said, "from experience to experience, like Boccaccio's virgin, without discernible effect upon his condition...
...past 16 months the organization has consisted of little more than Hoosman, his portable typewriter and a pile of stationery. Working out of his tiny Munich hotel room, he has searched for sponsors, raised funds, got publicity, gathered statistics and lists. Last Christmas the Bavarian radio helped Hoosman put on a party for 40 Munich Negerkinder. He got headlines in the West German press by smuggling out of East Germany a little Negerkind named Roswitha Kubik. Louis Armstrong and his band raced over from a Stuttgart concert to put on a special Saturday afternoon party for Hoosman's Munich...
Britain, in the spring of 1959, is in a strange mood. Some critics too hurriedly raised the old cry of appeasement, leading the Spectator to retort waspishly: "For the Germans, of all people, to accuse Mr. Macmillan of wanting to do another 'Munich' is a little indelicate." Munich is obviously not the right word. But Britain-public, press and government-is plainly at odds with its allies. It lives on greater hopes and conjures up greater fears...
Capriccio had its premiere in the war-scarred Munich of 1942 and has only rarely been seen outside since. Now in a complete recording (Angel, 3 LPs) for the first time, it proves to be one of Strauss's most fascinating works. Too static for the stage, it is studded with passages of surpassing orchestral and vocal beauty: the sweetly melancholy string sextet that serves as an overture; the delicately interlaced trio in which Musician, Poet and Countess comment on the Poet's sonnet; the Countess' hushed mirror monologue at the close, with its spun-silver vocal...