Word: sonata
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Dates: during 1960-1969
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...prompted a capacity crowd to jam Helsinki's Conservatory of Music to hear a famed but little-recorded visiting pianist play for the first time outside Russia. The answer came quickly. Without even waiting for the welcoming applause to die away, Sviatoslav Richter launched into Beethoven's Sonata in D, and both audience and critics knew almost at once that they were listening to one of the world's great pianists at the top of his form...
...after-hours Myrick and Ives achieved distinction in other fields as well. Ives wrote atonal, craggy symphonies and tone poems full of early American nostalgia (Three Places in New England, The Concord Sonata, Symphony No. 3) which won him a Pulitzer Prize and recognition as one of the leading U.S. composers. Says Myrick: "He always said his business helped his music." Myrick became president of the U.S. Lawn Tennis Association in the early '20s, also headed the Davis Cup Committee whose teams won the cup six years in a row. Once when touring with the 1924 Olympic team, Myrick...
...staged by a determined repertory company known as the Living Theater, managed since 1951 by Julian Beck, 34, and his wife Judith Malina, 33. So far, Living Theater has produced some 18 plays, half new, half old, all experimental in their time-Strindberg's The Spook Sonata, Gertrude Stein's Doctor Faustus Lights the Lights, Pirandello's Tonight We Improvise, which now alternates with Connection...
...still formidable, impressive and amazingly exact in indicating the composer's intentions. The orchestra squirms morbidly in the first half, almost as if playing without direction, but the second half achieves a kind of romantic, lyrical lassitude. The opera bristles with an immense variety of forms: a sonata represents the elderly lecher, a rondo suggests his son, ragtime gives way to an English waltz...
Threni is really a series of canonic passages, generally sung by soloists, punctuated by choral enunciations of the Hebrew letters that divide the text. The letters are short, frequently no more that a bar, and gentle, in the manner of Orpheus and the Sonata for two pianos. The considerable body of instruments is never used all at once, but broken into chamber-like groups; even then the instrumental comments are decidedly laconic. Exceptionally, the first movement includes a remarkable passage for tenor and fluegelhorn in free canon, while low sopranos, altos and low violins tremolandi move about restlessly. The peculiar...