Word: musicalization
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Dates: during 1970-1979
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...army of other major and minor domos needed to conduct a convention, things do go bump in the night. And the morning, and the afternoon. In 1975 the American Bankers Association had planned to introduce its new board of directors on the revolving stage at Manhattan's Radio City Music Hall. Each member was to be moved under the spotlight as the stage turned, but the power failed. When the board members were asked to walk around the stage and come under the spotlight one by one, the men, already standing in a circle, turned in different directions and bumped...
Sing We Noel: Christmas Music from England & Early America (The Boston Camerata, Joel Cohen director, Nonesuch). Charpentier: Messe de Minuit pour Noel; Senate a Six (The Boston Camerata, Joel Cohen director, Desmar). The album of folk-inspired Christmas music, a welcome change from today's homogenized carols, ranges from a 12th century Latin tune, Ad cantus leticie, to a rousing Gloucestershire Wassail from modern Britain. Marc-Antoine Charpentier's Mass, based on French Christmas carols, is a graceful work, and the voices of The Boston Camerata are perfectly balanced...
Richard Strauss: Salome (Soprano Hildegard Behrens, Mezzo Agnes Baltsa, Tenor Karl-Walter Bohm, Baritone Jose Van Dam, Vienna Philharmonic Orchestra, Herbert von Karajan conductor, Angel; 2 LPs). With Karajan, the orchestral music comes first, even in opera. Here he conducts a vibrant, sensuous performance of Strauss's lurid opera. Behrens as Salome may lack the cruel edge of Birgit Nilsson's performance on London. But Behrens' pure voice contrasts chillingly with Salome's lust, while Van Dam's ringing Jochanaan is a saintly counterpoint in a savage world...
Johnny Cash: Gone Girl (Columbia). Much the best Johnny Cash album in years, and a necessary reminder that country music doesn't have to be slick to get unsentimental, doesn't have to bluster to hang tough. An album full of sur prises: some topnotch Cash originals; a country cover of the Stones' No Expectations; a little lyrical autobiography; and a 3%-min. Bildungsroman called The Gambler, in which the worldly title character hands down a little useful guidance to the youthful narrator: "Every hand's a winner/ Just like every hand's a loser...
...well he might not. He went on to invoke the name of André Malraux, citing a passage in his writings that foresaw, in glowing terms, a "Museum Without Walls," by which all works of art would be diffused through reproduction as the common property of mankind, as orchestral music is disseminated through recordings. "I am surprised," Rockefeller added plaintively, "that the art dealers would launch such an unfair attack on a good customer...