Word: strides
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Dates: during 1950-1959
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...surest sign of sound health in the postwar burgeoning of U.S. Protestantism is the resurgence of the seminaries. None has advanced more consistently in number and caliber of students than Manhattan's illustrious 122-year-old Union Theological Seminary. Last week Union prepared to take the biggest stride of its postwar expansion: a $16 million development program...
From the moment he galloped off the mark in the Los Angeles Coliseum Relays last week, the long-nosed, long-legged youth looked like the top man in his trade. With his countryman Merv Lincoln tagging along behind him, Herb loped over the grassy turf track with the stride of an astonished ostrich. He stuck to the early pacemakers with ease. When Texas' Drew Dunlap and Maryland's Burr Grim pulled him through a 2:00.5 first half, Herb knew he was running a hot mile. In the third quarter, his pacemakers began to burn out, and Herb...
...played widely in the U.S. By contrast, Europe has a small handful of young pianists -Austria's Friedrich Gulda and Paul Badura-Skoda, Poland's Andrzej Czajkow-ski. and France's Phillipe Entremont-who are in the same class. The younger pianists are hitting their stride just in time to fill the places being left by an older generation. Some of the Americans are almost sure to step into the shoes of the Backhauses, the Rubinsteins, the Ser-kins, the Giesekings and Horowitzes...
After the war, Alec resumed his prewar stride with scarcely a hitch, and somehow there seemed to be more muscle in it. In the 1946-47 season he played a deeply original Fool that struck the critics almost as strongly as Olivier's Lear, and he did a swingeing good De Guiche in Guthrie's Cyrano. About the same time he considered working in the movies ("On the stage I never seemed to have a chance to wear trousers"), and Director David Lean gave him the role of Herbert Pocket, the young swell in Great Expectations. The next...
...refuses to label either jazz or classical. In I Could Have Danced All Night, for instance, he starts with a theme from Rodolfo's aria, Che gelida manina from La Bohème, develops the second chorus as a Mozart sonatina, cuts loose briefly with a sample of stride harpsichord, returns to Bohème in the coda. The album should send hi-fi bugs skittering, but no sound on it is as fascinating as the musical imagination that puts them together...