Word: sermonizer
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Dates: during 1960-1969
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...much less provocative than the contemporary experiments of Hindemith, Bartok, Schoenberg, and Cowell. The Movements, however, a strictly twelve-tone piece, is characterized by pellucid, crystalline registration, pointillistic rhythmical control, and Stravinsky's unique unsentimental lvricism. This work linked Threni and Agon (1956), a supreme masterpiece, to the later Sermon, Narrative and a Prayer and The Flood, Movements makes clear once for all that serial composition is not necessarily a constricting system available to uninspired journeymen, but a pregnant and energizing compositional discipline in the hands of a master such as Schoenberg, Berg, or Stravinsky. Mrs. Vosgerchian played the piece...
Instead of being smitten for heresy, the preacher-much to Bryan's chagrin -thrived and became famous. Harry Emerson Fosdick's 1922 sermon entitled "Shall the Fundamentalists Win?" flayed oldtime religionists for intolerance and became a rallying cry in U.S. Protestantism's biggest battle. By the time the conflict ended, Bryan and his beliefs had been repudiated by increasingly sophisticated Christians, while Fosdick had been elevated to the pulpit of New York's famed Riverside Church. There he remained, counseling and preaching, for 16 years until his retirement in 1946. And there he was eulogized last...
...subscribed to what he called "the sacredness and possibilities" of humans and he impressively preached a religion that linked the two without obscurantism. One who heard him was Ivy Lee, the father of the public relations industry and adviser to the Rockefeller family. Lee published Fosdick's 1922 sermon under the title of "The New Knowledge and the Christian Faith," and arranged to have it and subsequent homilies widely distributed. When John D. Rockefeller Jr. offered Fosdick the pulpit at the fashionable Park Avenue Baptist Church in 1925, the controversial preacher at first refused. "I do not want...
...radio series. Fosdick's eloquent "life-situation preaching," which incisively related modern theology to everyday situations, was hardly spontaneous. He shut himself off from callers each day to compose his highly literate discourses replete even with articulate jokes that friends called "Fosdickettes." As he observed: "A last-minute sermon preparer is not doing a good job or giving the congregation what it deserves...
...Paul and Mary's Blowin' in the Wind underscored film clips of student demonstrations. The overall theme was Pete Seeger's Turn, Turn, Turn. The program marked what might possibly be a new pattern for TV news documentaries: except for a final three-minute, 40-second sermon from David Brinkley (in which he credited the entire decade to TV), there were no formula interviews, no ponderous philosophizing. Instead, it was a documentary full of flash and color, exciting the senses by inundating them with sights and sounds...