Word: scorings
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Dates: during 1960-1969
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...that I'm delving into tonight, it's by no means the whole story and it doesn't perhaps give us what we need. We've got to be optimistic and constructive. We can count on great changes coming on the Chinese side, loosening up some time. On this score, perhaps we can say Chairman Mao has already lost his mandate, that extremism is played out and not being bought by the people. This is a good sign, and perhaps there is a turn to be expected in the Chinese scene...
Despite his reputation for short-fused pugnacity, ex-Marine Freeman tries to be coolly diplomatic on this score. He saw "no conspiracy," he said, but rather a growing sense of responsibility among white officials. One factor making Freeman so soft-spokenly cautious is the virtual control of Southerners over both the Senate and House agriculture committees. Another is the fact that the $195 million bill extending the Food Stamp Act was saved from a crippling amendment in the House last month by just eleven votes. Freeman obviously hopes to accomplish more by wooing Southern Congressmen than by warring with them...
...cool that frost used to form on his dialogue. His wardrobe was so kempt that he had creases in his sweaters. Anyone who hired Private Eye Peter Gunn knew he was getting the real TV goods: come-what-mayhem, brisk backchat, and a solid Henry Mancini score between the commercials...
...Schubert Sonata in c also evidenced an intensive study of the score. Unfortunately, Schubert does not bear the same kind of analysis as Beethoven. As in Opus 109, Shure was careful to clarify every counter-voice, phrase-grouping, and point of articulation. This had the regrettable effect of making Schubert's structural joinings even more obvious than they are. Shure took the piece too seriously, not leaving room for enough of that Vienese Gemutlich and Empfindsamkeit that are Schubert, special charms. Shure's performance had plenty of pianissimo but not enough sparkle...
Bradley Burg's score is very much a saving-grace, with its unswervingly melodic line and its sweet harmonies. Mayer's lyrics show signs of being dashed off, except for the last, very beautiful one, and the lyricist doesn't seem to be able to make a rhyme without using enjambement, a device which should always be used very sparingly. The score keeps the show flowing when the accumulation of gag-lines that have fallen flat start to clog...