Word: schroeders
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Dates: during 1950-1959
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Just as he was recoiling from this disappointment, a head turned in the crowd and he saw Miss Schroeder. It was certainly her. Even from where he sat he could see her hair net and notice her attentiveness to her neighbour. Miss Schroeder occupied the place next to Lucius in the stacks, and their relationship was unclear, for they had never spoken. But often when she was out he would slip into her alcove and admire her books. And today she was at the game with someone else...
William E. Schroeder, the designer, has used the freedom from literal representation given him by the author to create a set consisting only of black curtains, a door, a few steps in necessary places, and a large fire escape that provides the characters with a refuge from one another. It is a serviceable job, but the convention that the blacks aren't there is weakened by hanging a picture on them, and the impressive fire escape occasionally hides someone's face just when we want...
...Schroeder's lighting sometimes brings strongly to mind the image of someone in the back throwing switches at an unwontedly rapid rate; but frequently he achieves stunning effects without loss of visibility, as when Tom appears to open the play, illuminated for a moment only by his cigarette lighter...
...entire literature. Of the two chorale-preludes, Liebster Jesu, wir sind hier presented a constant parade of startling dissonances. Later periods were represented by Mozart's charming, if second-drawer, Sonata No. 15 in C; Brahms' rich-textured Fugue in A Flat Minor (a most rare key); and Hermann Schroeder's chorale-prelude Schoenster Herr Jesu...
...will open her program with four works by Bach. These will be followed by The Fugue in A flat Minor, by Brahms, Schonster Herr Jesu, by Schroeder, and The Chromatic Study on the Name of Bach, by Piston...