Word: ode
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...government's deliberations were shrouded in hermetic secrecy. West German morale plummeted?particularly after news arrived of Pilot Schumann's death. But then came Mogadishu. Radio stations interrupted regular programming and punctuated coverage of the rescue and the return of the hostages with the stirring strains of Beethoven's Ode to Joy. Newspapers hit the streets with extras and thousands of copies were given away. Declared one television commentator: "It feels good to be a German today." When the freed hostages and victorious commandos returned to Germany, they received a heroes' welcome?complete with brass bands...
...from protest to love, Paxton shows more of his soft side. At his most tender in "You're So Beautiful," Paxton calls his wife, "the loveliest women a man ever knew." Paxton runs the risk of using enough saccharine to kill a tubful of Canadian rats, but this sentimental ode at least provides a suitable contrast to Paxton's political commentary. "There Goes the Mountain," Paxton's plea for preservation of nature, also combines sweet and bitter in just the right proportions. Steve Goodman harmonizes as Paxton personifies the mountain, the "avalanche-maker, heaven's caretaker." Paxton stimulates nostalgia...
...atmospheric success." Schmidt-whom Carter had called "Helmut" all along-finally unbent enough to address the President as "Jimmy." At one remarkable moment, Schmidt, an amateur organist, grabbed the baton from the conductor of the Marine Corps band and led the group in the rousing final measures of the Ode to Joy from Beethoven's Ninth Symphony...
...Home." The Lieberman-Kushnick segment of the program began forcefully, and later drifted to the ethereal with "Holes in the Sky," a 32-bar rendition of a poem by Louis NacNiece. The next four songs formed a cycle beginning with the straightforward harmonic piece, "Velvet Sportcoat," followed by "Ode to the Apocalypse" and its fast-paced thematic cousin, "Ark Tangents," whose music dances upon Daniel Dern's surrela lyrics...
...DEMANDS the musicians make on the listener's untrained ear are substantial but not unreasonable. Consider "Ode to the Apocalypse," which is, in Kushnick's words, a "surrealist love song" about two lovers spending a last night together in the face of the apocalypse; it has seven verses, each of a diffegent mood, meter, and key. It also contains many of the purposely electic elements of Kushnick's "surrealistic neo-class avant garde jazz/rock and roll" music: in this case, a basically straightforward key progression beginning and ending in G minor, and a Beethoven-like hand-over-hand arpegio accentuated...