Word: shostakoviches
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...place where the West finally found the will and the means to intervene effectively in a regional calamity. Inferno is a book with the weight and density of one of those great 20th century works of broken-hearted testimony, of the Holocaust documentary Shoah or the string quartets of Shostakovich. With 382 black-and-white pictures spread across oversize pages, it has the heft of a gravestone, which is not so different from what it is, a cenotaph for the last victims of the 20th century. What it tells us is that history did not end with the conclusion...
...scores. Liebermann, Daniel Asia, Jorge Martin, Paul Moravec and George Tsontakis were among the first younger composers to snub its stuttering chatter in favor of a full-blooded style that is at once unmistakably contemporary (Liebermann, for instance, was influenced by the great 20th century Russian symphonist Dmitri Shostakovich) and rooted in the techniques of the past...
Butoy has another lovely piece: Hans Christian Andersen's The Steadfast Tin Soldier grafted onto Shostakovich's Second Piano Concerto. The one-legged soldier and his ballerina love battle an evil Jack-in-the-box in a gorgeous blend of traditional and computer animation. Eric Goldberg has a snippet set to Carnival of the Animals--flamingoes playing with yo-yos--that is giddy enough to remind you of Bob Clampett's 1943 cartoon classic A Corny Concerto. The Goldberg variation on Rhapsody in Blue is a smartly syncopated tribute to ageless caricaturist Al Hirschfeld. In the style of the NINAs...
...daring decision to include Igor Stravinsky's The Rite of Spring in Fantasia just 27 years after its cataclysmic Paris premiere triggered a near riot. Couldn't the makers of this ultracautious sequel have found anything more adventurous to animate than Gershwin's Rhapsody in Blue (yawn) or Shostakovich's Second Piano Concerto, a pleasant student piece written in 1957 for the composer's teenage...
...could tolerate and be tolerated by the little old Cambridge ladies who thought it terribly impolite to express emotion of any sort in response to, say, Shostakovich's 6th or Beethoven's 9th, it was a blast," Rogers says...