Word: ops
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Dates: during 1980-1989
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...been reluctant to set the Jordan aside for co-op space if no one wants to live there, but on the other hand we've worked very hard to allow them to remain as co-ops," said Thomas A. Dingman '67, assistant dean of the College for the House System...
Kodaly: Sonata for Solo Cello, Op. 8; Duo for Violin and Cello, Op. 7 (Jerry Grossman, cello; Daniel Phillips, violin; Nonesuch). Except for the Hary Janos Suite and perhaps the choral Psalmus Hungaricus, Zoltan Kodaly's music is not much heard today, only 16 years after his death. It is his contemporary, friend and colleague, Bela Bartok, who seems to have won the Hungarian seat in the 20th century pantheon of great composers. But Kodaly's music, while less frankly adventurous than Bartok's, is just as redolent of the Magyar spirit, and these two works display it well...
...post-op briefing session, Kimberly received his instructions. Disguised as a commercial attache, he is to retrieve a long lost dossier containing the names of all Soviet controlled spies operating in Britain during Kimberly's days. Although the early scenes are tightly done, this early promise is soon squandered in much of the useless talk, poor humor and muddled action that follows...
DVORAK: Serenade for Strings, Op. 22; Czech Suite, Op. 39 (Orchestre de Chambre de Lausanne, Armin Jordan, conductor; Erato). Dvořák is best known for his last three symphonies (including the inescapable "New World") and his omnipresent Cello Concerto, but many have long admired his smaller works. The Czech Suite brims with rustic high spirits−it includes a polka, a sousedka, or "neighbors' dance," and a dashing furiant−while the Serenade for Strings is a five-movement study in country-squire elegance. Jordan, a Swiss conductor who came to general attention leading the score...
...Such Op-Ed argumentation has begun to appear, alas, in other thrillers. Its most notable recent use was in General Sir John Hackett's two books noisily predicting a third world war. But Hackett's purpose was not to write novels; it was to use the techniques of fiction to argue his case for a buildup in conventional arms. An escape narrative must be nimbler. In The Spy Who Came in from the Cold and his later novels, Le Carré gave the spy thriller all the ideological baggage that the pockets of a trench coat could handle...