Word: rhythm
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Dates: during 1980-1989
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...County Cork, served her well when she went to London to write in the 1920s. Although sophistication came easily to her, along with Bloomsbury friends, she did not forget that cultivated society was a veneer over a more fundamental life, governed by forces of nature and timed to the rhythm of the seasons. This double vision gives a peculiar intensity to many of her stories; beneath their bright, sometimes ephemeral surfaces, implacable forces can be felt moving, well beyond human control. Sometimes they break out. In The Storm, a husband and wife visiting an Italian villa find their quarrel interrupted...
...there who aren't getting the job done, and I think all this subbing is based on frustration, not game-winning strategy. It's important to let everyone play, especially during a rebuilding year--this is a young team, after all--but you never establish any kind of a rhythm by continually juggling players...
...flaws, the signs of use and disuse, all preserved and yet held at an emotional distance by the pall of black. But her instinct for placement, for what shapes to repeat and where to repeat them, and how to break their sequence into daring asymmetries and unexpected detachments of rhythm, was carried out with an unfailing formal sense. This disciplined what might otherwise have been a too lush spread of metaphorical associations-with Russian altar screens, icon covers (for there is something numinous, if not exactly religious, about Nevelson's imagination), tombs and reliquaries...
...early bronzes and terra cottas were heavily influenced by French Cubist Sculptor Henri Laurens, and their dominant rhythm was taken from Mayan art-a blockish, crankshaft-like sequence of shapes. They may have been stylistically uncertain, but they were powerful, and on seeing them, a leading New York dealer named Nierendorf gave Nevelson her first one-woman show, in 1941. She was past 40, an age when some artists start thinking not about their debuts but about their retrospectives...
...Fifth Symphony, which, its composer wrote, captures the Russian alcoholic soul. Tubin, born in Kallaste, Estonia in 1905, moved to Sweden in 1944, after studying with Kodaly in Budapest and Heino Eller in Tartu. The symphony is in one big movement, and the melodies are folksy, recalling Bartok in rhythm and structure. Syncopation and dotted notes, along with the rolling figures in the strings, give the piece a gypsy personality. Just as enticing, however, was the underlying pit-a-pat of the timpani and the supple equilibriums of timbre attained when the horns made their entrances...