Word: victorians
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Dates: during 1960-1969
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...Music was the work of five young European composers whose music, not unexpectedly, conforms to neither of the two extremes. The pieces presented were variously scored for voice, piano, flute, harp, stereo tape and a truly staggering assortment of percussion instruments which included both Chinese blocks and Victorian stained glass. The music and the instruments were often difficult to listen to, and just as often intriguingly interesting...
...shape his sound as he proceeds, and Mr. Moderna's final decisions are quite obviously the result of considerable experimentation. The program opened with the World Premiere of the Bulgarian composer Andre Boucourechliev's Concertants for piano, harp, flute and every percussion instrument on the stage except the Victorian stained glass...
...unless you know that, you threw away your son because that's why he died." Actually, that's not why he died at all. He died because, as he said in a letter to his girl, "I can't face anybody." He died, like a violated Victorian heroine, out of shame...
...came up with some prehistoric fiend, an aging Lucifer whose depravity explains him wholly. . . . Characters like Fagin who are without grace, who terrify the very young and murder the innocent, exist in two worlds and operate on two levels of reality. They can dance about on the Victorian stage, making the theatrical noises of their forefathers who danced around the cross; or they can be interpreted as distorted dream-figures, the grotesquely magnified bogeys out of a fairy tale. . . . In a piece written for All the Year Around, Dickens asked: 'Are not the sane and insane equal at night...
Rosenberg excavates two late eighteenth century novels, Lewis' The Monk and Godwin's St. Leon, which portray the isolated Jew as black magician, and traces their lineage from Cartaphilus to DuMaurier's Svengali. In Trilby "the myths of Judas and of Cartaphilus met in the figure of a Victorian bogey-hypnotist...