Word: musicalization
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Dates: during 1970-1979
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...every human act. "I like to work out in my mind how far a word will go, how deep, or how high it can climb," meditates one of his characters. In Hanley's luminous novels, words travel about as far as they can go in the direction of music...
...Music came late in the plans for the Pompidou, better known as the Beaubourg for the Paris locale where it looms. But when the French government decided in 1972 to enter the field of music research, it moved boldly to dominate it. In the U.S. there are a number of centers for computer music, with Stanford the dominant one. In Europe, Germany has been a focus for innovation ever since the postwar years, when Darmstadt became an explosive forum for young composers. IRCAM clearly means to be the new Darmstadt: it has the facilities provided by a huge 59.2 million...
Boulez is a formidable force in modern music as composer, conductor and theorist. After two decades spent largely in Germany and the U.S., he has returned to France as virtually sole programmer of his country's musical future. Says Composer Karl Heinz Stockhausen: "IRCAM is the only place in the world where there is free enterprise for the development of new music. Pierre Boulez is the most lucid and brilliant of directors...
CLIFFORD WOODWORTH as Mr. Peachum seems to understand Brecht better, and his operatic voice adds to his performance. It was a shame to see him have to glance up at the conductor (Paul D. Lehrman) in confusion as the musical ensemble fell apart during the finale to Act I. From the opening bars of the overture, Lehrman takes the score at a gallop. He doesn't give the music the time it needs to fester, to spread its fumes; more importantly, the singers couldn't keep up with the pace. (If you want to hear Weill's music...
...good use of a small church as the playhouse, and he paces the scenes well. He even suggests the teeming decay endemic to The Threepenny Opera in the opening scene. But failures of casting and characterization quickly break the spell. Brecht's script speaks directly enough, and Weill's music is brilliant enough, so that even a mediocre performance like Caravan's is worth seeing, especially if you've never seen the show before. But The Threepenny Opera ought to more than entertain; if the director, actors and musicians conspire aright, it can give you a whiff of death...