Word: musicalization
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Dates: during 1970-1979
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...other nice way record companies make a few more bucks at Christmas is with rehashes of their artists' music in the form of greatest hits and live concert albums. Go into a record store and you'll note that everyone from the Commodores to the Steve Miller Bank to Barry Manilow and Barbara Streisand have greatest hits albums out. That way record companies can make a lot of money off the same old music without having to offer up anything new form their performers. And at Christmas greatest hits albums are an especially good sales item. I mean, why choose...
Besides, why help record companies rip us off by buying their reruns. They age not out to help you get the music you want without having to buy a lot of old records, they are out for money. Period. Greatest hits albums only further narrow the limited opportunities for rock musicians who are not mass - marketable commodities, and further lessen the choice of music available...
Life is not totally bereft of cheer, however. Some people have taken the time and trouble to create music and there are some new releases sitting there on the shelves waiting for you to come in and buy them. They cry softly, Buy Me, Buy Me, their thin high voices carrying over the silent white streets and floating in the clear, cold air, as they pine away until you come in to shower them with love and affection. Be nice...
...concerto, like much of Mozart's music, was composed quickly and on commission. The composer adhered rigidly to the classical concerto form, and scored his work modestly. But already, at the age of 18, he had mastered the delicate orchestration, the ethereal grace and the inimitable turn of phrase that one associates with his later and more famous works. Thus endowed, he turned everything he touched to gold; even his 'minor' works are illuminated with his genius...
...that it can be precisely that. The rapid passagework and the herioc leaps between the uppermost and lowermost registers were rendered with astounding lucidity. More importantly, his fine sense for the subtle lyricism of Mozart was obvious, especially in the second movement, and throughout the piece he allowed the music to express itself with such subtlety that it did not sound stale or trite. In short, his performance was a credit to his instrument and to the composer...