Word: nineteenth
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Thonet (pronounced like sonnet) was a German industrial designer of the nineteenth century whose chairs revolutionized the idea of form in furnishings. Thonet was also concerned with processes of manufacture, so his well-designed furniture was made available to all for the first time at low prices. In this marriage of functionalism and craftsmanship, Thonet anticipated the 20th century precepts of the Bauhaus...
Leslie Howard's delicately crafted Ashley Wilkes manages to embody both the glamor and the shoddiness of the Southern gentleman myth. Set against Gable's robustness, his sensitivity and final impotence illuminates the inadequacy of the chivalric code of honor in nineteenth-century industrial America. Olivia de Havilland triumphantly transforms the ludicrously good-natured Melinie Wilkes into a full-blooded character. Thanks to Miss De Havilland, Melanie's mild goodness becomes a genuine and ever-increasing source of strength for the other characters. The film wisely refrains from showing the scene in which she restores Gable's sanity; we have...
...their performance of Richard Strauss's Serenade for Thirteen Winds they sounded and appeared every bit as unrehearsed as the full Band. This work of the sixteen-year-old Strauss is a straightforward exercise in the academic, conservatory style of the late nineteenth-century. The opening theme is a cross between the Schumann piano concerto and piano quartet, and the rest is not only warmed-over, but decadent Mendelssohn. It is a delightful work in its way, but to succeed it requires complete control and attention to detail that the ensemble, heads buried in the music, was not prepared...
...architect himself: "He just doesn't know who he is. He's a funny guy who never knows how much things cost. He's suffering from the nineteenth century Jeffersonian thing--a guy with a book of friezes he's drawn on the Grand Tour. That's got to change...
...solidly in control despite purported despoliation by this year's Bach Society Orchestra. Under conductor James Yannatos, the orchestra played with just the right kind of classical clarity and transparence. These qualities are more difficult to master than the rhythmic complexities of contemporary music or the pyrotechnics of late nineteenth-century orchestral style. All the elements which are so important in Beethoven--dynamic contrast, elegance of phrasing, orchestral balance--were consciously and sensitively achieved by orchestra and conductor. For the first time in three years, the HRO actually played subtly...