Word: musically
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Dates: during 1960-1969
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...Irish gutter lions, bred to the tooth and claw, who move into the home of the only brother who has tried to flee their world of lacerating animal instinct. The performances are all labors of skill and love, and Arvin Brown's deft direction is full of silent music...
...cost of $30 million, the building encompasses 8,000,000 cubic feet spread over nine floors. It houses 15 gigantic rehearsal rooms, three organ studios, 84 practice rooms, 30 private studios, two recital halls (including Alice Tully Hall, Lincoln Center's acoustically superb home for chamber music) and limitless vistas of plush, carpeted corridors and lobbies. There is also the thousand-seat Juilliard Theater. Its pop-up ceiling can be raised or lowered (up for big orchestras, down for small ensembles). Its pit stage is bigger than the New York State Theater's across the street...
...programs, significant modern works, and vital playing, three qualities egregiously absent from the Boston Symphony Orchestra, which gives every indication of expiring into another seven months of unremittingly harsh and indifferent prosecutions of emulsified, vindictively pasteurized programs gleaming with lambent somnolence. Kirchner does not specialize in conducting twentieth century music, although he has performed Stravinsky stunningly, but responds with equal sensitivity to Bach, Handel, Beethoven, Mozart, Schubert, and Brahms. His programs of Bruckner, Varese, Handel, Stravinsky, and Beethoven exemplified this catholicism...
Anton Bruckner's Overture in G minor proved to be a beautiful small piece. Bruckner belongs to that unhappy group of composers including Liszt. Schmidt, Reger, Vaughan Williams, and even Schoenberg, whose music is fashionably vilified without benefit of humane audition. The tedious and lamentable caricature of Bruckner most often encountered is of an amateurish, even childishly naive, rural organist who afflicted the world with eleven appallingly identical symphonies which are massive, repetitious, incoherent and only convulsively appealing. If he is given any credit at all, which rarely happens since people prefer summary condemnation to critical acceptance of monumental genius...
BRUCKNER found in his religious orthodoxy the same resonance of tradition and invitation to humanism, the same sustenance of spiritual and intellectual resolution, which he found in classical sonata form. His music proceeds with the deliberateness, comprehensiveness, mystical assurance, and formal clarity of the Mass. His symphonies are celebratory but never indulge in an easy rapture of tonal staleness or facile dramaturgy. Mahler learned much from Bruckner, primarily thematic linking of unprecedented subtlety among movements, the proliferation of material in the second thematic group, the immediate juxtaposition of radically differing elements (here Mahler extended Bruckner's simpler process of motto...