Word: text
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Dates: during 1950-1959
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When he had been at Harvard only a few days, for instance, he walked up to classmate Bob Hallowell. "I hear you draw," he said. "Why don't we do a book about Harvard? I'll do the text and you do the pictures." When Hallowell protested that they knew nothing about the college, Reed replied, "Hell, we'll find out doing the thing...
Like The Diary of Anne Frank, this story takes its unproclaimed text from the New Testament: "But whoso shall offend one of these little ones ... it were better for him that a millstone were hanged about his neck, and that he were drowned in the depth of the sea." The offense against Author del Castillo (who calls himself Tanguy in this autobiographical novel) began with the Spanish Civil War. At the age of three he saw corpses in the streets of Madrid, an omen of the dread commonplaces that would haunt his boyhood. Though his mother was a militant left...
...omission and by your sly use of picture and text, you have adroitly created the totally false impression...
...minute work for six vocal soloists with chorus and full orchestra-but with no trumpets, and a Flügelhorn and alto trombone added-was presented by Venice's International Festival of contemporary music. Stravinsky's text and title-Threni, id est Lamentationes Jeremiae Prophetae (Threnody: Lamentations of the Prophet Jeremiah)-come from three of the familiar elegies from the Catholic Vulgate Bible. Written in the tone-row technique that Stravinsky once scorned but has lately adopted, the work has a spare, transparent orchestral accompaniment that for long stretches consists of no more than an occasional chord...
Threni opens with the chorus singing mournfully over the sighing orchestra, gradually builds to a moving tenor solo, accompanied by the Flügelhorn, to the text, "Behold, O Lord, for I am in distress." In one passage of labyrinthine difficulty the two tenors and two basses sing two separate canons simultaneously. Except for the second section of the third elegy, the tempo is funereal, and throughout the mood is unrelievedly austere. Perhaps the most remarkable thing about the piece is that despite the rigidities of the tone-row technique (and for the first time Stravinsky used all twelve tones...